Corações Humanos

This is the second of the thrice filmed Fanny Hurst novel about the other woman. Tastefully directed and lensed by Robert Stephenson and Charles Daniels and featuring standout performances from Charles Boyer and Margaret Sullavan it is probably the best of the bunch.

Traveling salesman Walter Saxel and free spirit Ray Smith meet through an acquaintance and in the course of an evening become strongly attracted to each other. He is engaged but makes a decision to marry her on board a river boat. She unfortunately misses the boat and Saxel doesn't see her for another five years marrying in the meantime. They rekindle and she becomes his mistress. As he grows in fame and fortune she remains in the shadow for decades until his children confront her.

Boyer and Sullavan as the long time lovers display a wonderful chemistry with each other. Sullavan's husky voice and Boyer's suave inflection reinforced by telling glances unite the two in an odd but perfect romantic match. Richard Carlson as a well intentioned suitor is also well cast and Frank McHugh, allowed to stretch, shines as Ray's loyal friend with an eternal crush.

Director Stephenson does an excellent job of keeping mood subdued without resorting to hysterics to bring life to the story. His adults behaving like adults expressing and suppressing their feelings in a tempered but passionate way gives the film a graceful tension. Cinematographer Charles Daniels turns in his usual array of impeccably lit compositions such as an evening snowfall where Ray and Walter meet for the first time in five years and the powerful final moments that he along with Stephens jarring and effectively de-romanticizes with stunning portraiture that evokes Goya.

a moment. and its significance. love. and its force who change everything. and the need to respect the rules. one of the films who gives more than the flavor of old fashion cinema. but good performances, seductive - dramatic story, the bitter perspective about chance, choices and sacrifice, the opportunity to come back to a broken dream and the moral lesson who remains the perfect end. a love story who becomes game of memories. at the first sigh, this is all. but only the top of the iceberg. because Charles Boyer seems be perfect as the man looking for the true love. and he has the great gift to be part of beautiful cast who gives to story brilliance and profound roots.

Two of Hollywood's greatest actors, Charles Boyer and Margaret Sullavan, starred in this first remake of the 30s tearjerker, and they

portrayed the star-crossed lovers with great restraint. Acting, writing and direction all combined to create the ultimate BACK STREET! Warners had their crime dramas, MGM had their musicals, Paramount had their comedies, and Universal had the best weepers. This may be the very best one ever! Even the supporting cast was hand-picked with care. Richard Carlson, ever the "other guy", does his thing once more, and we want him to win for a change, but in this case, true love ruins all. Frank McHugh, as Rae's friend, gives perhaps his best performance.

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.

the flavor from a lost period and manner to discover/invent reality, Charles Boyer in his classic character clothes,Margaret Sullavan looks, the drops of romance and drama, the pink crumbs and a decent acting are the pillars of that version. a version from the middle of war who use in smart manner the hope, love and a sentimental affair.maybe, it is not the best version. but it has a perfect cast for translate the story in right sentimental tone. that fact is really important because it reminds the flavor of a world. and the result is a kind of gem. not very precious, not exactly unique but nice at whole. a film for rainy afternoons and Sunday evening. like an old love song.