Rinellabunch

This is a wonderful example of Classic Hollywood soap opera with the elegant Kay Francis giving a truly heartfelt performance. Kay appears (not too convincingly at first, but she gets much better as the movie goes along) as a young, naive English girl who becomes impregnated by a titled gentleman (Patrick Knowles). He, being the callow character he is, already has an invalid wife (beautifully played by Freida Inescourt) who cannot bear a child. Kay allows his aristocratic family "adopt" her baby and she runs off to America to forget. Being a classic weeper, she of course does not forget, even though she is married to George Brent (who really is pretty good here). Eventually, a faithful friend (Roland Young who enlivens the proceedings with needed humor) conspire to bring closure to her heartache by bring the real mother and "adopted mother" together for a tearful, yet satisfying, ending.

It plays a lot better on film than it does in print and I'm sure I am not doing it justice. All I know is that it is joyously irresistible and very moving. Kay Francis received a lot of mixed reviews for her performance at that time, but I think that she is splendid- truly an underrated actress from that period and worthy of watching!

Margaret Sullavan is one of my all-time favorite actresses with her husky voice and haunting screen presence. The original version in 1932 with Irene Dunne and John Boles was dull and stage-bound; the later version with Susan Hayward was just too gaudy. This is the version to watch!

Margaret gives an exquisitely heart-rending performance as a turn-of-the-century miss who falls in love with a man (played by the smooth but oh-so-serious Charles Boyer). Fate intervenes and the two lovers are separated. They meet again years later, but, true to the classic weeper formula, he is married. Despite her better judgment, she carries on a "Back Street" romance with him for many years until their untimely demises.

Promoted with the tag line, "If you have tears, be prepared to shed them", this movie does involve some suspension of disbelief. For example, for such a level-headed gal, why does Margaret allow Boyer to treat her so shabbily? Just when I am about to shake my head and yell "Why?", Margaret then either let loose with the tears or try to hide the choking sob in her voice, and I'm transfixed all over again.

This film does feature solid direction, beautiful photography and some good supporting performances (I particularly liked Frank McHugh in this one). This film remains on my "Wish-They-Release-This-One-on-Video" list.