Por Causa Dele

Kim Walker (Deanna Durbin) wants to be a stage actress in the worst possible way. So, Kim decides that no matter how much hard work other actresses go through to get to Broadway, she'll take a shortcut. Her shortcut involves lying her head off...again and again and again. She has everyone convinced that the great actor, John Sheridan (Charles Laughton), adores her and wants her to co-star with him in her next play. Then when he learns about her ruse, she and her friend concoct and even crazier scheme...for her to do a fake suicide attempt for publicity sake. What's she going to do next? Kidnap all the other actors?? Nope...she now decides to stalk the playwright!!

I am sure this sort of script scares many actors to death...the pushy ingénue who forces her way to the top. Why? Because some not so well balanced acting wannabes might just decide to do the same...and expecting the same results! Believe me, there are many creepy stalkers out there chasing celebrities...and they DON'T need encouragement!!

So, despite this, is the film worth seeing? Well, it does end very well. Overall, though, the message it presents is creepy and the film has one too many songs for Durbin. I really think the movie SHOULD contain the following statement before it's shown: "If you act like Deanna Durbin in real life the way she acts in this one, you'll likely be arrested or blackballed for life"!

Deanna is such a sweet, old fashioned woman, she was about 23 in "Because of him". Deanna was 13 in her first appearance with Judy Garland in the short "Every Sunday" 1936, and that came out 10 years prior to "Because I know him" 1946. Deanna blossomed into a beautiful young woman in her 1940s films such as this one. And her voice is wonderful again here singing her lovely opera songs especially the tear-jerker "Danny boy".

The golden age had some beautiful operatic singing women, Janette McDonald in the 1930s and early 1940s, and Kathryn Grayson and Deanna Durban in the 1940s. All angels

Deanna had a deep admiration for John and wanted to star in his show so badly that she folded a letter that she typed herself about being invited to star in John's show, and asked him for his autograph with him only seeing the side of the paper without the letter showing. Since Deanna was waitressing and John was a customer at the restaurant she waitressed at, she was able to pull it off with John not discovering until later what she'd done. John did take it better than many characters of his sort in these types of films would take it. Generally, he took it well enough to remain calm and sympathetic towards Deanna and to keep her scheming move quiet and between only the two of them. But he didn't take it well enough to actually grant her wish to star in his show, and bluntly advised her to go back to her home town. Then Deanna, well at least her friends and family, did not keep the next plot point quiet. They publicised in the newspaper that she attempted suicide due to John's rejecting her for his show.

John's reaction to that, like with the autograph/letter scheme, was lighter than one would've expected, and he then really developed a soft spot for her innocence and determination. After that came Deanna's beautiful "Danny boy", and Deanna and John were not the only ones without dry eyes. I have a sentimental side to Golden age music, it's simply got a sweetness and charm to it that no modern music can match. Deanna Durban, Kathryn Grayson, Janette McDonald, Judy Garland, Nelson Eddie, Allen Jones, Dick Powell's singing, Ginger Rogers, Jean Harlow, Ruby Keeler, Clark Gable, Gene Kelly, Cary Grant's acting and charm, along with many others' singing, acting, sweetness, and charm have all helped to have made the pre-mid-1950s age a wonderful place

Deanna Durban (Miss Walker) tricks her way into starring in playwright Franchot Tone's (Paul Taylor) new play opposite famous actor Charles Laughton (John Sheridan). She has no acting experience, but while Laughton encourages her, Tone is keen to see her fail and removes his name from the performance's credits.

This film is a comedy that has several amusing moments, eg, Laughton's treatment of his butler Donald Meek (Martin), and his scene with Durban when he teaches her how to fake a faint properly. Charles Laughton is the powerhouse of the film with an over-the-top performance that works. The film is only let down by Durban's terrible singing of "Danny Boy". She has 3 songs, which she delivers in that high-pitched, operatic, warbly voice - two of them are okay but "Danny Boy" - just shut up Durban! The song is already crap and your rendition of it is really painful to endure. The film loses momentum at this point.

Anyway, the singing of "Danny Boy" provides an important stage in the plot as, after Durban has tortured us with this flop of a song, Laughton becomes sympathetic to her wishes and decides to help her. God knows why. The fact that she can sing is not an indication that she can act. So he behaves out of character and his sudden confidence in her makes no sense.

The film is essentially a romance that doesn't really convince but it is entertaining viewing. Whilst the songs in this film are not needed, the film is lightweight fluff that doesn't make a lot of sense but it has some funny moments and the cast all perform well.

I enjoyed the movie apart from Tone's character (he was annoying and super cheesy) the rest was great. Laughton is as always the best part about the picture.

The fact that credibility is strained to the limits is not unusual in most of the Deanna Durbin films of this period. "Because of Him" is no exception--with a charming performance by Deanna and an excessively hammy one (intentionally so) by Charles Laughton. Both prove they have a way with comedy--as does Franchot Tone as a playwright who does not want Durbin to star in his new show. While the thin plot hinges on whether or not Deanna is successful in seeking the patronage of famous actor (Laughton) and starring in the theater, there is an air of mirth in the proceedings with just the right light touch to keep the story spinning to a happy ending.

Deanna, as usual, is in fine voice and gives a lovely rendition of "Danny Boy" and tosses off an operatic aria under most unusual circumstances. Her voice is showcased here and so is her comic timing. Easy to see why she was such a popular favorite in the '40s.