Chagrin d'amour

This third film version of the play is earnest enough and MacDonald and Aherne play very well together. The Technicolor is rich and saturated, but suffers from having too many scenes filmed either indoors in dimly lit rooms or outside at night. The plot is not changed.

The problem is with Raymond. He has no chemistry with his real life wife (MacDonald) and is rather strange looking, almost smarmy. He neither interests nor excites as a love interest for Jeannette. She certainly throw herself into creating passion for his character, but he rather blandly just looks back and spouts his lines. I was wishing for Aherne's ultimatum for Jeannette to give up Raymond to be embraced fully.

Although MacDonald has songs, they are period pieces and the title tune, so it's not really a musical, just a play with music.

Still it's one of the great tearjerkers of all time (May Time, East Lynne, etc.) and should be seen, but seek out the 1932/33 version with Shearer and March. It is really the best. The 1922 silent starred Norma Talmadge, but only two prints survive and they are in archives. The straight talkie drama was deservedly nominated for a Best Picture Oscar and is the one preferred.

However, if you don't have access to it, at least watch this color version, so the beautiful and sentimental story of lost love can wash over you.

1932's "Smilin' Through" was one of the best films of its day....delightful and exquisitely produced. However, Hollywood of the 30s and 40s loved to remake films...and so it was inevitable that they'd remake the movie and I just finished watching the 1941 version. Sadly, the remake is in no way superior...and in a few ways it's not up to the original. Of course it's very watchable...the basic story is marvelous. But my recommendation is that you stick with the earlier version.

Instead of discussing the plot as I normally would do, I'll skip it since the film is pretty much identical to the first version. The biggest thing I didn't like about this second version is that because it starred Jeanette MacDonald, MGM insisted it had to be jam-packed with her singing...singing that was unnecessary and tended to drag the film down in the process. It became more of a musical than a romance as a result. Additionally, it makes the same mistake the original did...it used the cliche of having folks playing multiple roles. You are to expect that a man's son is identical to the father in every way...silly of course. But you ALSO are expected to accept that a niece looks completely identical to her aunt...which is way beyond silly.

So my thoughts are that you watch this 1941 version if you must, though you'd be much better off seeing the original and being done with it!

By the way, if you care, the lovers in the film were played by Jeanette MacDonald and Gene Raymond--who were married in real life.

Jeanette MacDonald stars in "Smilin' Through," a 1941 remake of the Norma Shearer-Leslie Howard movie. Besides MacDonald, the film stars Brian Aherne and MacDonald's real-life husband, Gene Raymond.

MacDonald and Raymond play dual roles. Brian Aherne plays the lonely Sir John Carteret, whose wife, Moonyean (MacDonald) was killed at their wedding by a jealous suitor, Jeremy Wayne (Raymond). Each year, he goes to the spot where they were married and sees a vision of her. Cartaret takes in his young niece, who grows up as MacDonald and falls for Kenneth Wayne, Jeremy's son, also Raymond. The bitter Sir John implores her not to see Kenneth again. The story stretches into World War II.

MacDonald is just beautiful in this color film, and she's in great voice. Aherne was underrated in Hollywood, probably too similar to Errol Flynn, but he's very good as usual. It's a shame he never got a real breakthrough role. I've never been very impressed with Gene Raymond.

The story is sweet and sentimental, a real tear-jerker, with some lovely music sung by MacDonald. The period scenes and costumes are opulent. Worth seeing.

I must first say I absolutely LOVE LOVE LOVE the 1932 version of this film. Norma Shearer and Fredric March were perfect, the filming was perfect, the sets were perfect, the costumes were perfect, the story was perfect. It is a film I could watch over and over and never tire of! So why did I watch this remake? Well, I wanted to see for myself what it was like, even though I knew beforehand that noone could top Fredric and Norma.

I was correct. There was absolutely no reason to do this remake. It was wrong to be in color. The color was just distracting. Jeanette MacDonald and Gene Raymond had no chemistry whatsover. All through the film I kept saying, " You're not saying it as though you MEAN it!" They just seemed to parrot the lines back and forth to each other. And these 2 were husband and wife in real life??? Fredric March and Norma Shearer had so much more sincerity in their performance in the 1932 version. You could FEEL their love, their joy, their desperation...those 2 really knew how to act. They WERE Ken and Kathleen. Jeanette and Gene were not. Gene Raymond didn't even know how to hand a lady a handkerchief in the right way!

Brian Aherne was totally non convincing as a man who was obsessed with the memory of his murdered beloved and his hatred of her murderer. You never FELT or BELIEVED that it meant much to him. Look at Leslie Howard's performance of John Carteret in the 1932 version. It was perfect. You could really see his borderline insanity from his obsession of wanting his Moonyean, and his hatred for her murderer, Jeremy Wayne.

The added songs in this version were only a distraction from the story. In the 1932 version, Norma did sing "Smilin Through", and it was appropriate for the scene. Here Jeanette sang too many songs and they didn't need to be there. I didn't care for her singing anyway.

This version had the classic scenes all wrong or even missing! Where Kathleen and Ken meet at the old Wayne house, well that was a beautiful scene with Fredric and Norma. The shadows were just right. Fredric comes into the room from the shadows. You see his beautiful, expressive eyes. The camera cuts to Norma. Her eyes tell you EXACTLY that this man is THE MAN who will have her heart. The picnic scenes in this version were nothing compared to Fredric and Norma having their teas at Mrs. Crouch's. Fredric and Norma had a lot more going on between them than eating! Why they cut out the homecoming scene at the train station, where Norma's Kathleen in the 32 version waits expectedly for Ken, but sees only Willie, and later we see her standing there alone, hoping to the very last moment that Ken will come, is beyond me. It was a beautiful scene. Norma was radiant in her white suit, ready for her beloved's return. In this one, Ken hears Kathleen singing in church. It just didn't have the impact of the train station scene. I could go on and on about scenes that were just all wrong!!

I am sure a Jeanette MacDonald fan will love this film. But if you want to see THE CLASSIC, THE BEST, THE MOST BEAUTIFUL version of this film, watch the 1932 one with Fredric March and Norma Shearer. You won't be disappointed.

Jeanette MacDonald and Gene Raymond (married in real-life) only made one film together and both were at the peak of their careers when they co-starred with Brian Aherne in this handsome remake of the older Leslie Howard-Norma Shearer tale. Brian Aherne narrates some of the story in flashback to a time when he was about to wed a young woman who was killed at the altar by a jealous suitor. He then tries to dissuade Jeanette from marrying a man who is the son of that suitor. Jeanette plays the dual role of the present-day woman and the young woman her uncle was about to wed. Jeanette is given several charming songs to sing (including 'The Kerry Dance') and has never looked more beautiful. It tends to become a bit too sentimental--an old-fashioned valentine with a candy-box look to the technicolor--but for fans of the singer this is definitely one worth viewing. Nice performance by Aherne in age make-up as the elderly uncle. Raymond, too, is seen to advantage. Pleasant lightweight entertainment, if a bit dated in style.