L'autre

The presence of Grant and Lombard drew me to this one on American Movie Classics, though I thought the script might a bit of a handkerchief-wringer. To my surprise the story was thoroughly absorbing and involving, as well as being a great study of the manners and mores of the era. And of course, Cary Grant and Carole Lombard carry the whole thing through with their wonderful performances. Well worth a see.

This is the perfect movie to curl up to on a winter day and get lost in a soap opera. The performances are very good and Lombard is just gorgeous. I think the best reason to see it is to see Kay Francis in a comeback performance. She had been relegated to the undesirable list by the studios at this point in her career. Her portrayal of Maida, Cary Grant's uncompromising wife, is great fun to watch. The movie is a little cornball in parts but overall it works. Lombard fans really won't be disappointed.

Boy meets girl. Boy is married. Girl is widowed with a child. They fall in love, but his wife won't let him have his freedom. She will do anything to hold onto him. That is In Name Only in a nutshell...and what a masterpiece it is. With so many major films released in 1939, it is understandable how a film about 3 people in a grueling triangle can be overlooked. It seems that today, thanks to TCM, so many wonderful moments of screen history may once again be viewed and shared. I can remember as a child seeing this moving film on television. It was wonderful then, and even better now. The years have not left a mark on it. The evil portrayed by Kay Francis, subtle at times, flagrant at others keeps the viewer from feeling this is a sappy soap opera. As good as both Carole Lombard and Cary Grant are in this film, Kay outshines them. It's about time the world once again discovers the merits of Kay Francis. In this movie, she not only steals each scene she is in, but proves herself to have been thoroughly underrated as an actress. She was so much more than just a great beauty or a clotheshorse for the most stunning wardrobes in Hollywood. Try to catch each and every film she made and visit http://www.kayfrancisfilms.com/

This film is an old favorite and a crowd pleaser. I saw it recently and the amazing this is that even though 65 years have passed since its release, it still holds one's attention. Thanks to the direction of John Cromwell, this is a timeless classic.

The production of this film must have presented problems to the team involved in it. Films of the era stayed away from taboo themes because of the censorship, but this movie is an exception: an unhappily married man finds happiness with a widowed working mother. It is clear that there's nothing between Alec and Maida, a power couple living a life of luxury in the country.

Enter lovely Julie Eden. She is beautiful, talented, but with no desire to be a part of the country gentry around her. She's a free spirit who falls under the spell of a handsome Alec; who wouldn't? At the same time, Julie realizes this relationship has no future. She leaves the situation going back to Manhattan, trying to forget Alec.

The combination of Carole Lombard, playing Julie, against the Alec of Cary Grant, pays a great dividend. These two actors were meant to play opposite each other; they both bring enough charisma to fill a few other movies. Added to this mixture is the great Kay Francis, as Maida, the society wife who will not let go of her ticket to the life of luxury she is accustomed to.

The rest of the cast is excellent. Additional credit must go to Irene, the costume designer who had an eye for the clothes all the society types wore at the time.

A truly good time at the movies.

Shrewdly acted soaper. Usually these weepies milk over-emoting but not here. Grant, Lombard and Francis under-play despite strong feelings, thereby highlighting character rather than emotion. That opening scene at the river is delightful, a great hook. The remainder, however, switches to understated drama. Seems Grant's trapped in a loveless marriage that his influential but misled parents embrace. But when he meets the winsome Lombard, he's smitten. He'd like to divorce the icy Francis and marry Lombard, but remains torn until the conniving wife becomes impossible. However, now Lombard's too wary of his complications to follow through, and wants to take a job in faraway Paris. So what will happen, as if you didn't know.

Kay Francis as the ice-queen wife is truly unsettling. With an unblinking stare, a majestic bearing, and a regal wardrobe, she's almost scary. In fact, it's sort of hard seeing how Grant could have fallen for her, except for her deadpan good looks. Note that the star-crossed Lombard remains deglamorized throughout much of the movie. So her rivalry with Francis dwells on personality instead of glamour. That's a tribute, I think, to her ego as an actress. However, except for the river opening and bar scene, Grant's celebrated comedic touch is mostly secondary to his romantic quandary. Still, his innate charm shines through. Anyhow, I didn't recognize Helen Vinson, who plays the cruel Suzanne, but I sure do now. And finally, catch little Peggy Ann Garner as the tyke—given more screen time, she could have stolen the show.

Except for the car crash, there's no action to speak of. Still, the talk moves along smoothly enough, without dawdling. Fortunately, fans of the three principal players should find plenty to enjoy, which all in all, amounts to a bigger draw than the rather patchy storyline.