A Estranha Passageira

I first saw this wonderful film in the early 1960's on television - made in 1941 is seemed old fashioned, slightly stilted and truly from another time.

Later on in the seventies and eighties I'd watch the occasional late nite re-run on TV and it just seemed camp.

In the nineties I bought the video - something to keep. A little bit of cinema history.

Last week I bought "Now Voyager" on DVD and was completely blown away!

Perhaps it's because I know the story so well, but I was able to appreciate the movie on several different levels such as cinematography, direction and editing.

Bette Davis was always the prime reason for watching but I never realized what a fine naturalistic actor Claude Raines was. His scenes with Bette Davis exude intelligence and warmth.

I stopped to consider what a 2004 remake might look like - who could play the leads? Who would direct? What would the score be like?

With no disrespect to anyone in the movie industry, I don't think a remake would ever be possible.

The actors and technicians on this movie were truly masters of their craft.

I defy anyone who watches the first ten minutes not to be hooked until the closing credits.

From frumpy momma's unwanted adult child to liberated raving beauty, Davis is in her element in every scene. With Paul Henreid & Claude Rains, Gladys Cooper & a spot-on supporting cast, "Voyager..." is, hands down, best love story I believe I've ever seen.

Of course, taste in romances has everything to do with what a viewer finds great. I don't like phony, fantasy, goofy romantic shows at all. "Voyager..." has a gritty plot that reveals the kind of love between unrequited lovers that's worth sacrificing oneself for.

Davis' wardrobe is as fabulous in this movie as it is in "Deception," (also co-starring Claude Rains & Paul Henreid). Perhaps having both of them in both shows is what produced the mastery of all the elements in both movies. Though "Deception" is also a love story, Claude Rains coming seriously close to stealing the show from Davis.

In "Voyager..." the characters are much more egalitarian. The balance of love & despise is what makes the movies so intriguing. Davis should have taken an Oscar home for her leading role.

Look. I *love* "Now Voyager." I don't love it as a guilty pleasure, or as camp, or as an example of film-making from the Golden Age of Hollywood. I don't love it as a soap opera or as example of the long lost genre, the theatrical-release, big budget, "woman's picture." I love "Now Voyager" as a movie. "Now Voyager"'s quality could stand comparison with any great film out there.

Plot: Charlotte Vale (Bette Davis), the psychologically abused child of a sadistic iceberg of a wealthy, Boston Brahmin mother (Gladys Cooper), thanks to the intervention of a compassionate sister-in-law (Ilka Chase) is packed off to a posh asylum, where Dr. Jaquith (Claude Rains) restores her to well being.

Charlotte loses weight, loses her glasses, and receives tutoring in how to dress and carry herself. Superficially quite the glamor puss, she goes on a cruise and charms Jerry Durrance (Paul Henreid) an unhappily married architect.

Circumstance intervenes and Jerry and Charlotte enjoy a brief affair. As time goes on, they make some heart-wrenching decisions about how to handle their adulterous love; along the way, Charlotte forms an important bond with Tina, Jerry's daughter, whose mother does not love her.

The screen is full of women's bodies, women's voices, women's choices, and women's lives. There are old women, middle aged women, and young women. There are good and bad women in every class. For example, while Tina is the sweet but unattractive and lost young woman, Bonita Granville, as June Vale, is a pretty, blonde, young b----. The scenes in which June, without censure from any quarter, uses her youth and prettiness to torment her pathetic spinster aunt are terrific, honest, and cruel.

The plot is built around the issues of which women's lives are built: their relationships with their mothers, or mother figures, both good and evil; how the world treats women based on how women look; women's competitions with, and support of, other women; what women do to survive economically and emotionally.

The scenes between Charlotte and Tina are stunning in their sensuality. Tina, the daughter-surrogate, and Charlotte, the mother-figure, cling to each other in bed at night, and while sleeping under the stars on a camping trip; Tina sobs tears that wet her face; Charlotte strokes Tina's hair, and Tina clings to Charlotte's bosom.

The simple message here is how incredibly important parenting is in the lives of both children and mothers, and how a person who has suffered -- Charlotte -- can often be a better person than those who have had it easier -- Mrs. Vale and June, and how having been handed a life that denies you love doesn't make it impossible for you to go out and find love on your own, to create your own family.

Mrs. Vale is one of the most naked depictions of a child abusing mother ever committed to the screen. No, there are no graphic scenes of abuse, but the film never lets you believe that this woman is anything but a nightmare who damaged her child for life while the world let her get away with it because of her money.

Again, the abuse is not graphic, but it is made certain. In one brilliant scene, Charlotte has returned to her mother's house after being out in the world and, for the first time in her life, experiencing some affection, joy, and confidence.

Charlotte speaks in her new voice, a voice of self possession. But she is trying to be nice to her mother, and her voice quavers a bit, without losing its ground.

Charlotte is out of camera range; we hear her, but do not see her. Her mother's back is to the camera. She is motionless -- except for her bejeweled, claw-like hand, which taps rhythmically against a carved bed post. One thinks of a cat waiting to pounce. One realizes that all that is going through Mrs. Vale's head is, "How do I destroy her this time?" That motion alone renders the scene both chilling and telling.

Charlotte's love affair with Jerry Durrance is equally complex. This is no "soap opera" as some reviews here dismiss it as. Viewers are so caught up with Jerry's (Henreid's) trick of lighting two cigarettes at once that they miss the depth, power, and complexity of this relationship.

"Now Voyager" gives us a terribly convincing portrait of two people who really love each other, and whose love is apparently doomed. Jerry is a superficially charming, nice guy whose unhappy marriage has given him reason to see beneath the surfaces of life; he's no rocket scientist, though, so he's not as smart as he could be. He is attracted to a superficially glamorous woman whose secret past as an ugly duckling and abused child gives her a hidden side. For both, society demands that they present a pleasant facade, but pain has caused them to develop in ways that many people never do. Their love is real.

Jerry is deep enough to be attracted, but not deep enough to realize, as soon as he might, how much his acting on his attraction could potentially devastate Charlotte, a woman whose hold on her life is tenuous, at best.

Whether their love can ever be realized, or whether it would continue to grow outside of the confines of an adulterous affair begun on a cruise ship and consummated after the most outlandish interventions of fate on a mountain road, is a question viewers can still debate to this day. What is clear is that this love is real, and its stakes are terribly high. Charlotte's whole life hangs in the balance here, no less so than a Scorcese hero's life hangs in the balance given how he handles his weapon.

Claude Rains is solid as Charlotte's best hope at the beginning, and, perhaps, also at the end of the movie..

"Now, Voyager" is arguably one of the best of all motion pictures by Bette Davis. As Charlotte Vale, a rich Bostonian smothered by a mother who had her late in life, Davis plays a frumpy, low-esteemed, near recluse of a woman. That is, until her cousin intervenes by bringing a psychiatrist, Dr. Jacquith (Claude Rains) into Miss Vale's life.

Miss Vale's cousin and shrink conspire to bring her out of the steel shell her domineering mother (Gladys Cooper) has encased her within. Their idea is to send her on a cruise with the doctor's advice to learn everything, do everything, engage everyone. The results are a remarkable transformation of a woman who believed she was an 'ugly duckling' into Miss Bette Davis as a sizzling hot beauty like she never was before or after in any other film.

How Miss Davis didn't view herself as a beauty or use her beauty to create her success as an actress is what "Now, Voyager," proves is most remarkable about her 66 year long acting career. If she had wanted to be a "bombshell," she could have, two snaps up. Davis didn't want to be a "movie star," or "glamor girl." She wanted to be a great actor and achieved her life's goal. Not only did she make her career using acting skill and shrewd business finesse, Bette Davis also made quite a few other people's acting careers work well for them by taking a back seat in films with her role having a weaker script. Thus, as co-actors they could collaborate to make out of an average screenplay a screen hit and a new acting star. Davis was so unselfish an actor that she was in the acting business to benefit the art. That's why she's my favorite actor of all time: she was so self-assured as an actor in a man's world (in the 20th century), that her ego didn't get in the way of making truly great movies with co-actors with whom she worked with as a team player. "Now, Voyage," is one such film. Clearly, she steals the show, but she takes Paul Heinried (love interest, Jerry) right next to her, conjoined at the hip. What a delight it must have been to work with a true artist who was a great expert at her craft.

Bogie & Bergman in "Casablanca," don't have one thing over Davis & Heinreid in "Now, Voyager," when it comes to the most intense, well acted, extremely well scripted romantic drama that has it all. Davis is glamorous beyond compare and Heinreid is a smooth, sensuous, suitor.

This is my favorite of all of her motion pictures (at least I believe I own and have seen them all). How anyone could say that Bette Davis wasn't a raving beauty after they saw her in this film is beyond me. Not only does "Jerry" fall madly in love with "Charlotte," so does audience after audience, generation after generation.

There's much more to this great story, but I'm not telling! Buy the DVD.

In the 1942 screen adaptation of the 1941 bestseller by Olive Higgins-Prouty, Bette Davis and Paul Henreid provide excellent, subtle performances as Charlotte Vale (self-described Spinster Aunt) and J.D. (Jerry) Durrance, the married man she meets, befriends, and with whom she falls in love on a cruise following a transformative stay at the Vermont Sanatorium operated by Dr. Jaquith (Claude Rains). Reviewers often speak of the themes of self-sacrifice and relate it to the war, which would have been an attractive reason to make the film, but the reality was that the novel was a popular best-seller, Higgins-Prouty's earlier novel, Stella Dallas, was also a popular film (and later a radio series), and the studio stood to do well financially if the movie turned out well. Hal Wallis' deft hand as producer is seen here, especially in his choice of Orry Kelly as costume designer for Bette Davis. He and the studio worked within the limits of censors' requirements, which indicated that there could be no intimation that the two main characters had sex (which was implicit in the novel but never explicitly stated, where the behavior between the two in the love scenes were generally glossed over most of the time), and that they could not share the same blanket in the scene where they are in a hut on a Brazilian mountain, stranded. They also had to change locales for the story, because the novel had the sea voyage set in and around Italy, Gibralter, etc. In spite of any restrictions placed on the filmmakers and actors, the film followed the novel very closely, especially with respect to dialogue. The big point of contention has always been: who invented the two-cigarette lighting gesture that Paul Henreid became famous for later? According to some, George Brent and Bette Davis did something similar earlier in another film, and according to Paul Henreid and Bette Davis, there was a cigarette exchange ritual in the script which was sort of awkward, so they improvised based on Paul Henreid's experience with his wife on car trips. The latter seems likely, as there was a cigarette-exchange ritual in the novel (Jerry would give Charlotte a cigarette, lighting hers and then his own on one match, and then they would exchange cigarettes with each other so that Charlotte smoked the one that had been in Jerry's mouth and vice versa), which would have been slightly awkward in practice.

All in all, this is a truly excellent film with great production values, true to the novel on which it was based, and a wonderful ensemble cast.