Le Tournant dangereux

Robert Lenhart (Paul Lukas) is a publisher who is having hard times with his business. His 'loving wife' decides that she doesn't want to be shackled to a poor man and a child, so she leaves and marries a millionaire. Surprisingly, Lenhart's business turns around and he and the boy make a good life for themselves. However, the wife's new mother-in-law (May Robson) likes the boy and decides she MUST have the child--so the mother and step-father return and try to take custody of the boy. What happens next? See the film.

This film is an unusual tear-jerker because it's an awful lot like "Kramer Versus Kramer"--but almost 50 years earlier. While the final courtroom scene is a bit contrived, it is also heartfelt and satisfying. Overall, a nice old film that I enjoyed from start to finish. Better than I expected.

A strait-laced published is married to a beautiful woman who is discontented due to his focus on his business. When he confesses there are financial exigencies that require frugality, she abandons him and their son.

Paul Lukas plays the published, Robert Lenhart. And Helen Vinson (soon to be married to tennis champion, Fred Perry) plays the wife, Eve. This is great casting, but the entire cast is impressive in their roles. Madge Evans plays the secretary, Maxine Bennett, whose dedication to her employer, Lenhart, goes well beyond professional consideration. When Mrs. Lenhart leaves, Maxie spends time with little Bill, the son (played by David Holt). In short order, Eve remarries.

Though Robert never stops loving his wife, things stabilize, until Eve's new mother-in-law (May Robson), who controls the purse strings with a gruff dedication to always getting her way, demands that Eve sue for custody of her son. An emotional courtroom scene follows.

Though the story is somewhat plodding in its early scenes, it gathers momentum, and concludes with some wonderful action in its final moments. The production is blessed with some great performances. Watch for Catherine Doucet, who plays the eccentric authoress, Jean Oliver, with great energy. And May Robson puts on a show as the demanding mother-in-law, culminating in a courtroom performance that would steal the film, if not for young David Holt, who himself acts beyond his years in the final scenes.