Now, Voyager (A or 4/4 stars)
'Now, Voyager' (directed by Irving Rapper) is an excellent romantic drama from 1942 that proved to be Bette Davis' biggest box office hit. Davis stars as Charlotte Vale, a repressed, homely spinster from Boston whose wealthy, elegant, but possessive mother (Gladys Cooper) treats her with contempt; and preventing her independence at every turn. Charlotte's compassionate sister-in-law Lisa (Ilka Chase, wonderful) introduces her to renowned psychiatrist, Dr. Jaquith (Claude Rains), who sends her to a sanitorium where she is transformed; shedding her 'ugly duckling' exterior, but still inwardly insecure. Soon thereafter, she departs for a luxury cruise, where meets dashing architect, Jerry Durrance (Paul Henreid), who is trapped in an unhappy marriage.
These 2 troubled souls find comfort & chaste love with each other, though Jerry realizes that he can't offer Charlotte a life together. Still, Charlotte returns home with personal growth & memories of Jerry's love in her sails. She hopes to find respect for her domineering mother, while also gaining confidence in herself. Major life-changing incidents happens to Charlotte {a death, an engagement to an eligible widower}, but by chance, she gets the chance to develop a relationship with none other than Jerry's 12 yr. old daughter Tina (Janis Wilson, emotionally affecting) ... whose mother never wanted her. To this, Charlotte finds meaning in sharing Tina with Jerry. Melodrama ensues.
There's good reason why this movie is so fondly remembered; part of that is a climactic exchange in which Jerry: "... will you be happy, Charlotte?" And then she utters the famous final lines, "Jerry, don't let's ask for the moon. We have the stars". It is just a hopelessly romantic line and, it is delivered with such heartfelt sincerity. The other reason the film is so well-remembered is for the sensual way in which Henreid's Jerry lights 2 cigarettes in his mouth at once & gives one to Charlotte. Sexy, sexy, sexy. And that's saying a lot for a film strangled by the confines of Hollywood's conservative Hays Code.
Bette Davis is superb, believably conveying Charlotte's gradual emotional & physical transformation. Davis is always great, but sometimes tends to go 'big' -- not so, here. She underplays & lends nuance to the role of Charlotte. We are transfixed to her every move & utterance because she makes Charlotte so interesting. Handsome Paul Henried capably makes us like & even sympathize with a man who, on paper, could be viewed as sleazy {married, playing with the emotions of a vulnerable woman}. Claude Rains is terrific as Dr. Jasquith. Bonita Graville excels as Charlotte's casually-cruel niece. Mary Wickes entertains as the nurse who isn't intimidated by Charlotte's mom. And speaking of her: Gladys Cooper rivets as the oppressive, imperious Mrs. Vale. Cooper has long played roles similar to this and, I'd award her Best Supporting Actress at the Oscars for this indelible turn.
It's funny -- Paul Henreid would later say that could not go anywhere without being approached by women begging him to light their cigarettes for them with his mouth. Another interesting factoid: After Claude Rains finished his work on 'Now, Voyager', he went to a different movie set the very next morning to start filming another movie co-starring Paul Henried ... Casablanca. 'Now, Voyager' may be considered a "woman's picture" or a "weepie", but it still manages to be as such with top-notch directing, writing, shimmering cinematography & music by the great Max Steiner. I'll always remember walking into the living room to see my mom & grandma weeping along to the final moments of this film. It is one of their favorites -- mine, as well.
These 2 troubled souls find comfort & chaste love with each other, though Jerry realizes that he can't offer Charlotte a life together. Still, Charlotte returns home with personal growth & memories of Jerry's love in her sails. She hopes to find respect for her domineering mother, while also gaining confidence in herself. Major life-changing incidents happens to Charlotte {a death, an engagement to an eligible widower}, but by chance, she gets the chance to develop a relationship with none other than Jerry's 12 yr. old daughter Tina (Janis Wilson, emotionally affecting) ... whose mother never wanted her. To this, Charlotte finds meaning in sharing Tina with Jerry. Melodrama ensues.
There's good reason why this movie is so fondly remembered; part of that is a climactic exchange in which Jerry: "... will you be happy, Charlotte?" And then she utters the famous final lines, "Jerry, don't let's ask for the moon. We have the stars". It is just a hopelessly romantic line and, it is delivered with such heartfelt sincerity. The other reason the film is so well-remembered is for the sensual way in which Henreid's Jerry lights 2 cigarettes in his mouth at once & gives one to Charlotte. Sexy, sexy, sexy. And that's saying a lot for a film strangled by the confines of Hollywood's conservative Hays Code.
Bette Davis is superb, believably conveying Charlotte's gradual emotional & physical transformation. Davis is always great, but sometimes tends to go 'big' -- not so, here. She underplays & lends nuance to the role of Charlotte. We are transfixed to her every move & utterance because she makes Charlotte so interesting. Handsome Paul Henried capably makes us like & even sympathize with a man who, on paper, could be viewed as sleazy {married, playing with the emotions of a vulnerable woman}. Claude Rains is terrific as Dr. Jasquith. Bonita Graville excels as Charlotte's casually-cruel niece. Mary Wickes entertains as the nurse who isn't intimidated by Charlotte's mom. And speaking of her: Gladys Cooper rivets as the oppressive, imperious Mrs. Vale. Cooper has long played roles similar to this and, I'd award her Best Supporting Actress at the Oscars for this indelible turn.
It's funny -- Paul Henreid would later say that could not go anywhere without being approached by women begging him to light their cigarettes for them with his mouth. Another interesting factoid: After Claude Rains finished his work on 'Now, Voyager', he went to a different movie set the very next morning to start filming another movie co-starring Paul Henried ... Casablanca. 'Now, Voyager' may be considered a "woman's picture" or a "weepie", but it still manages to be as such with top-notch directing, writing, shimmering cinematography & music by the great Max Steiner. I'll always remember walking into the living room to see my mom & grandma weeping along to the final moments of this film. It is one of their favorites -- mine, as well.