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The acting by Eleanor Parker and Paul Henreid is superb in this classic story of love and sexual obsession. In some ways, it is truly a universal story of all of us. Who has not had, at least for a small period of time, such feelings for someone else. Most of us usually move on more quickly than our hero in this film, nonetheless it rings true. I was also genuinely pleased by the authentic period setting of this film and very impressed by the performances of all of the supporting cast, especially Edmund Gwenn.

I really do not understand why this version is so rarely shown anywhere. This was shown recently on Turner Movie Classics, otherwise it is never seen. I think it is important for movie buffs to have access to different versions of such a classic story as this.

Now that I've seen all three filmed versions for Of Human Bondage, no doubt about, Bette Davis leaves both Eleanor Parker and Kim Novak in the dust.

Still Parker gives a good performance as the amoral and tart tongued protagonist in W. Somerset Maugham's novel who for some reason turns on medical student Philip Carey like no one else can. Not a lot different from the way Sadie Thompson gets the Reverend Davidson's libido in overdrive in Rain, another of Maugham's female literary creations.

Amazing how three American actresses, Davis, Novak, and Parker all got to play a cockney tart. No one ever thought to hire an English actress like Vivien Leigh who in her personal life was far more Mildred Rogers than any of the three who played her.

Paul Henreid is out of place as a continental type Philip Carey. His is much inferior to the justice done this part by both Leslie Howard and Laurence Harvey. Carey is the man with the club foot and the inferiority complex because of that. Odd that both Howard and Harvey who never had trouble getting dates played a man who couldn't get one and gravitates to Mildred because she's looking real easy and sexy. Henreid's accent is way out of place here.

Good performances by Parker, Janis Paige, and Alexis Smith as the three women who enter Philip Carey's life at different times. But you have to see Bette Davis as the real Mildred deal.

First of all to state the obvious, it must be said that the criminally underrated Eleanor Parker is not the great Bette Davis, who shot to fame with her stunning interpretation in the 1934 original. But then again WHO IS ? Parker should have received the same accolades for her own stunning performance, but the powers that be decided instead to withdraw this version from circulation for many, many years, and she would have to wait another couple of years to enjoy even a modicum of the same recognition. A box office flop on release, this film was one that I had always wanted to see just to make up my own mind. As Davis is my favourite actress, I was ready to agree with all the misguided so-called critics over the years. That is not to say that I wasn't aware of how good Parker could be: witness her outstanding performances in DETECTIVE STORY (1951); INTERRUPTED MELODY (1955) (as polio stricken opera star Marjorie Lawrence) and best of all, her mesmerising tour de force in CAGED (1950). All of these were Oscar nominated as well, so she wasn't without her admirers. With it's appalling reputation preceding it however, to my absolute astonishment, this version of W. Somerset Maugham's story is excellent in it's own right, and Parker's immersion into the role is the reason. Why has this woman never received her due credit. Why has she disappeared from the screen ? While Davis, Hepburn, Stanwyck, and mid period Crawford thoroughly deserve their legendary status, the likes of Parker and another forgotten great Susan Hayward, wait to be rediscovered. WATCH THIS AND SEE WHY.

Of the three film versions of "Of Human Bondage" this is probably the least known. Critics at the time found it dull and compared it unfavourably with the 1934 version starring Bette Davis and Leslie Howard. On the contrary, I think that this version is more complex, more interesting and ultimately more satisfying than that earlier film.

All versions chart the course of the destructive, one-sided relationship between medical student Philip Carey, played here by Paul Henreid, and working class waitress Mildred Rogers played by Eleanor Parker. But after his self-esteem reaches its lowest ebb, two far more caring women enter his life, one he rejects almost as cruelly as he himself was rejected, while the other provides him with the happiness he has searched for.

For anyone who has read Somerset Maugham's novel, the film versions all share the same drawback; they only concentrate on one aspect of the novel - the unrequited and obsessive love of Philip Carey for Mildred Rogers. This is the most fascinating part of the novel to be sure, but it doesn't take place until about half way through the book. By the time it happens, we know a lot about Philip Carey - we have followed him from childhood, understand the sensitivity about his clubfoot, and identify with him totally. When he encounters Mildred Rogers and is rejected by her, we are as shocked as he is at the effect it has on his sense of self-worth and his life from that point on. No one has ever described the anguish that such a one-sided affair can unleash better than Maugham in this extraordinary novel - Sigmund Freud couldn't have done a more insightful job.

And therein lies the challenge for the filmmakers because they all want to leap straight into the Philip and Mildred affair; there is no real build up, we are only vaguely aware of the vulnerabilities, and even the vanities that have been nurtured in Philip that could lead him into so destructive a relationship.

With that said, after a slow start, this version of the story does become quite compelling. However it could have done without the narration, which doesn't even start until after Philip meets Mildred. The filmmakers should have worked a little harder to explain things without resorting to narration, which both the 1934 and 1964 versions managed to do.

Paul Henreid was too old for the part - it's almost as though he was going through mid-life crisis - and his accent needed explaining. Fortunately, he had a strong enough screen presence to carry it off.

Critics considered Eleanor Parker's performance weak when compared to Bette Davis's showier one in the 1934 version, but she handles it pretty well on the whole. She is possibly a little too strident, and like Davis struggled to deliver a decent Cockney accent. For anyone who has seen the 1964 version, it's interesting to compare her with Kim Novak who gave a very subdued performance, which didn't seem right at all. Possibly the forced, slightly neurotic quality in Parker's performance actually caught the spirit of Mildred Rogers all too well, and, at the end, when Philip looks down at her barely visible in the hospital bed, it is the saddest scene in any of the versions.

Although not without fault, this version of Maugham's great novel is better than the critics would allow. It certainly rewards at least one viewing.

Second round on the screen for W. Somerset Maugham's tragic story has a medical student in late-1800s London used and abused by a coarse, common waitress--one who has a habit of flirting with the wrong kind of men (she gets used, too). These two characters take turns debasing themselves and insulting each other, but a persistent question is never really answered: just what does the future doctor see in this woman? As played by Eleanor Parker, mercurial Mildred is childishly trampy and silly instead of dangerous. Parker switches her snarling anger on and off at whim, and when she pouts she sticks her chin out like a punished adolescent; as her would-be paramour, Paul Henreid (probably too old for the part, but not bad) has two expressions: a beaming, boyish smile and a thin-lipped, painful sort of incredulity. When he's chatting up a patient at the hospital or getting to know womanly authoress Alexis Smith, Henreid seems right at home, but his scenes with Parker don't quite come off. The story, most successfully filmed in 1934 with Bette Davis, was remade again in 1964 with Kim Novak. This is the weakest version, filmed with very little visual style and a skittering narrative. *1/2 from ****