Une femme cherche son destin

This film tugs on a few different heartstrings, with themes of a domineering mother, being an awkward, depressed young person, finding a deep connection and love with someone who can't be yours, and then personally evolving to the point of being able to transcend all of that, and finding one's path. It's really quite a touching film, and Bette Davis turns in another brilliant performance. The supporting cast around her is strong as well, and features Gladys Cooper (her mother), Paul Henreid (her lover), Claude Rains (her wise doctor). And, how fascinating is it that both Henreid and Rains began filming Casalanca immediately afterwards; clearly a great year for them.

The film scores points for me for having its title come from a Walt Whitman line in 'Leaves of Grass': "The untold want by life and land ne'er granted; Now, Voyager sail thou forth, to seek and find," which is appropriate. The film speaks to being honest with oneself, to one's identity, as well as to the person you love, even if it's complicated. I loved the little touches of the inner voice that director Irving Rapper employs, which helps underscore this.

It's heartwarming to see how those in love make each other better people. She begins to bloom, and radiate confidence after receiving simple acts of kindness and appreciation. He returns to his passion, architecture, and is more empathetic and understanding of his troubled daughter. The scene where they meet by chance again at a party, and have a conversation interlaced with whispered remarks of tenderness (such as her saying to him she could "cry with pride" over him following his dream) is lovely.

At the same time, she's not defined by him, or dependent on him. In fact, the movie is a celebration of independence, and shows how it can be done gracefully and with class. Her strength come through in so many ways: in standing up to her mother, determining her path with another suitor, asserting herself with her old doctor, and ultimately deciding the terms she'll have her relationship with Henreid on. While she admits that "I've just been a big sentimental fool. It's a tendency I have," she also calmly says "Please let me go" when a big romantic moment threatens to sweep her away.

The story about his child was touching, as we see Davis help her, as she was once helped, but I thought this part dragged on too long, and needed tightening up. It felt overly melodramatic and false; for one thing, where was the mother? There was a much earlier scene with a Brazilian taxi driver that got silly, and should have been left on the cutting room floor as well. On the other hand, I loved those last lines. He asks her, "And will you be happy, Charlotte?" And she responds "Oh Jerry, don't let's ask for the moon. We have the stars." How brilliant that line is; there is something larger than ourselves, larger than what others consider happiness.

At the height of WWII, Hollywood produced a lot of excellent melodramas. These were the vehicles the studios created for its stars of that era. It was either a Joan Crawford picture, or a Barbara Stanwyck, or a Bette Davis one, since their presence, bigger than life, was the only reason to bring these stories to the big screen.

Take this one, for instance, under the direction of Irving Rapper. It had all the right elements, yet it was chaste enough to pass the censor. Undoubtedly, this movie owes a lot to the fantastic score by the talented Max Steiner who was a genius. Mr. Steiner's music plays the haunting melodies with such flair, we feel we are listening to a great symphonic work.

The story, by today's standards wouldn't raise an eyebrow. At the time it came out, it was a different thing. After all, Jerry was a married man with a daughter and a situation that had no easy solution then. That makes Charlotte Vale suffer after she found her soul mate aboard the ship that served to free herself from a despotic mother.

Bette Davis plays Charlotte to perfection. Her scenes with Paul Hendried lighting the two cigarettes is something to cherish by film fans. The chemistry that Bette Davis shared with her leading men was no small accomplishment. She was an actress that knew how to pull the heart strings of the general public. She had such a charisma and power to lose herself in all those strong women she played through the years. The transformation of the plain Charlotte to the smart woman, who embarks on a tour to begin a new life, is something out of a fairy tale, but Ms. Davis pulls it with great panache.

The rest of the cast was excellent. Claude Rains, Gladys Cooper, Bonita Granville, Ilka Chase! They only come once in a lifetime. No one in present day Hollywood comes near to that. It was perfection.

I first saw this wonderful film in the early 1960's on television - made in 1941 is seemed old fashioned, slightly stilted and truly from another time.

Later on in the seventies and eighties I'd watch the occasional late nite re-run on TV and it just seemed camp.

In the nineties I bought the video - something to keep. A little bit of cinema history.

Last week I bought "Now Voyager" on DVD and was completely blown away!

Perhaps it's because I know the story so well, but I was able to appreciate the movie on several different levels such as cinematography, direction and editing.

Bette Davis was always the prime reason for watching but I never realized what a fine naturalistic actor Claude Raines was. His scenes with Bette Davis exude intelligence and warmth.

I stopped to consider what a 2004 remake might look like - who could play the leads? Who would direct? What would the score be like?

With no disrespect to anyone in the movie industry, I don't think a remake would ever be possible.

The actors and technicians on this movie were truly masters of their craft.

I defy anyone who watches the first ten minutes not to be hooked until the closing credits.

From frumpy momma's unwanted adult child to liberated raving beauty, Davis is in her element in every scene. With Paul Henreid & Claude Rains, Gladys Cooper & a spot-on supporting cast, "Voyager..." is, hands down, best love story I believe I've ever seen.

Of course, taste in romances has everything to do with what a viewer finds great. I don't like phony, fantasy, goofy romantic shows at all. "Voyager..." has a gritty plot that reveals the kind of love between unrequited lovers that's worth sacrificing oneself for.

Davis' wardrobe is as fabulous in this movie as it is in "Deception," (also co-starring Claude Rains & Paul Henreid). Perhaps having both of them in both shows is what produced the mastery of all the elements in both movies. Though "Deception" is also a love story, Claude Rains coming seriously close to stealing the show from Davis.

In "Voyager..." the characters are much more egalitarian. The balance of love & despise is what makes the movies so intriguing. Davis should have taken an Oscar home for her leading role.

"Now, Voyager" is arguably one of the best of all motion pictures by Bette Davis. As Charlotte Vale, a rich Bostonian smothered by a mother who had her late in life, Davis plays a frumpy, low-esteemed, near recluse of a woman. That is, until her cousin intervenes by bringing a psychiatrist, Dr. Jacquith (Claude Rains) into Miss Vale's life.

Miss Vale's cousin and shrink conspire to bring her out of the steel shell her domineering mother (Gladys Cooper) has encased her within. Their idea is to send her on a cruise with the doctor's advice to learn everything, do everything, engage everyone. The results are a remarkable transformation of a woman who believed she was an 'ugly duckling' into Miss Bette Davis as a sizzling hot beauty like she never was before or after in any other film.

How Miss Davis didn't view herself as a beauty or use her beauty to create her success as an actress is what "Now, Voyager," proves is most remarkable about her 66 year long acting career. If she had wanted to be a "bombshell," she could have, two snaps up. Davis didn't want to be a "movie star," or "glamor girl." She wanted to be a great actor and achieved her life's goal. Not only did she make her career using acting skill and shrewd business finesse, Bette Davis also made quite a few other people's acting careers work well for them by taking a back seat in films with her role having a weaker script. Thus, as co-actors they could collaborate to make out of an average screenplay a screen hit and a new acting star. Davis was so unselfish an actor that she was in the acting business to benefit the art. That's why she's my favorite actor of all time: she was so self-assured as an actor in a man's world (in the 20th century), that her ego didn't get in the way of making truly great movies with co-actors with whom she worked with as a team player. "Now, Voyage," is one such film. Clearly, she steals the show, but she takes Paul Heinried (love interest, Jerry) right next to her, conjoined at the hip. What a delight it must have been to work with a true artist who was a great expert at her craft.

Bogie & Bergman in "Casablanca," don't have one thing over Davis & Heinreid in "Now, Voyager," when it comes to the most intense, well acted, extremely well scripted romantic drama that has it all. Davis is glamorous beyond compare and Heinreid is a smooth, sensuous, suitor.

This is my favorite of all of her motion pictures (at least I believe I own and have seen them all). How anyone could say that Bette Davis wasn't a raving beauty after they saw her in this film is beyond me. Not only does "Jerry" fall madly in love with "Charlotte," so does audience after audience, generation after generation.

There's much more to this great story, but I'm not telling! Buy the DVD.