Marido Alheio

The first of the thrice filmed Fanny Hurst novel under the tasteful direction of John Stahl features a superb performance from Irene Dunne. From carefree youth to dying day Dunne gives an incredibly restrained yet powerfully emotional effort of a woman who signs her own death warrant to the American ideal.

Ray Schmidt is one elusive chick to the men chasing her. On to the traveling salesman con she also rejects the well intentioned local boy with promise Kurt Schlender who nevertheless remains persistent. One day at the train depot she's introduced to Walter Saxel (John Boles). The two hit it off and embark on an on off affair until the day they die.

Dunne endures the highs and lows of the relationship with a low key melancholy, much of it reflected in her eyes and long silences that reaches the audience and speaks volumes. The tragic chemistry between the two is evident in many of their scenes as they knowingly play out the doomed affair that will never attain respectability with a wan despair.

Stahl along with cameraman Karl Freund provide one fine background after the next with some beautiful set pieces as well some tender two shot close-ups of the star crossed lovers conflicted by their desperate passion for each other and the "proper " thing to do. A top rate tearjerker.

This Stahl weeper stars Irene Dunne as John Boles' kept woman, whom George Meeker wants to marry, although I thought that Meeker might be the 6th Marx Brother, judging by his look and voice.

It's from a Fanny Hurst opus, but even though the script is not as intelligent as yesterday's Seed, it's a much better movie. It's tighter -- ten minutes shorter -- with a beautiful set-piece opening which purports to be Cincinnati in 1907, complete with band shell, no automobiles and plenty of horses -- spotless streets, despite the horses. Was you ever in Cincinnati, Charlie?

I still don't like soapers, but Irene's oh-well-it-is-what-it-is attitude when she can't help lovin' dat man o' someone else's is far more affecting than the typical overwrought attitude.

I have seen the later versions that were done of this movie, and none compare to this one. Irene Dunne is superb, and brings a lot of depth to her role...you really get to care about her character, and sympathize with her plight.

Only saw this movie once on television years ago, and have not seen it aired since. As far as I can tell, this 1932 movie is not available on tape or dvd at the present time...a real shame, for it certainly needs to be!

At our recent film society screening of this film (we very luckily have a 16mm print in The National Film and Sound Archive here in Australia) it was very apparent of the skill of director and his star in what is an subtle and underplayed telling of this Fannie Hurst tearjerker. There is an absence of musical underscore very typical for the period prior to 1934, and this added to the potency of the effect of Dunne's absorbing and masterful performance, illustrating her as not just a star but an actress as well. Overall this film has a very gentle feel with slow fade-outs used frequently in giving this effect. Dunne is wonderful in her playing earlier in a lighter fashion and makes a skillful transformation into the section of the film where she is older and more serious. I had sympathy for her character in spite of the sacrifices she makes for John Boles, remaining in the "back street" of his life. I see director Stahl as a sort of predecessor to Sirk in his handling of solid fare such as this and "Leave her to Heaven" (1945).

Three of the best actresses around, Irene Dunne, Margaret Sullavan, and Susan Hayward all played the lead role of Rae Schmidt in three different versions of Back Street. It's a timeless tale and can be adapted to any time and place in history. The novel by Fannie Hurst was written in 1931 and most of the action takes place in the pre-World War I years and then jumps to the present day of 1932 reflecting the time she's been a Back Street woman.

Back Street the story is once again an affirmation of the heart having its own reasons. In this first film version Irene Dunne meets John Boles who is an upwardly mobile young man in the banking business. That's it for her she's in love. But Boles is about to get married to Doris Lloyd. Still when Boles goes to New York where he becomes successful he sets Dunne up in an apartment there and she's his kept woman for over 20 years.

Reading the Wikipedia article on Back Street one crucial component is missing from this adaption. The fact that Boles is Jewish and much under his mother's thumb to marry within the faith. Maude Turner Gordon plays the mother and she's formidable. But Boles is the weakest thing in this adaption. Without the religious component he comes across like a Mama's boy.

Like it or not Dunne is stuck on him. She even passes up an opportunity to marry boy next door George Meeker who makes it big with those new fangled contraptions, the horseless carriage.

Back Street both book and film version and take your choice set a standard for tales of romance on the side and sly. This one set the mark for the other two to follow.