Romantic tearjerkers were never a preferred subgenre of mine (even when they were laced with sophisticated comedy touches, as here) – which is why I had never watched this popular title until now, despite being aware of its reputation, its having repeatedly turned up on TV (including a local channel) and the fact that it starred my favorite Hollywood star, Cary Grant; I relented now in view of the latter's recent 110th birthday and its inclusion in a couple of all-time best films polls. That said, I did catch the even more renowned LOVE AFFAIR (1939) – of which this is a remake (by the same director, no less!)
but, then, I have no interest in checking out the 1994 version (despite the presence of Warren Beatty and Katharine Hepburn). Incidentally, this marks yet another example in a curious trend prevalent around this time among veteran Hollywood directors (like Frank Capra, John Ford, Howard Hawks and Alfred Hitchcock) – that of 'upgrading' their own earlier successes!
Anyway, this is a glossy Fox effort in color and Cinemascope, given added commercial appeal by its title tune (sung by Vic Damone): the central casting, however, is really what makes it work – Grant, Deborah Kerr and Cathleen Nesbitt standing in for Charles Boyer, Irene Dunne and Maria Ouspenskaya. As always, Grant is basically playing himself here, that is to say, the epitome of a ladies' man; indeed, his impending marriage to a prominent society woman is seen making the news the world over in the very opening scene! He meets and falls for Kerr (who has promised to tie the knot with her own boyfriend) during an ocean voyage. Despite their attempts to keep a low-profile on board ship, the couple cannot fool the nosy crew and passengers. They decide to pull their hair down on the last day of the trip, knowing they must part soon after. To this end, they opt to have a go at the life awaiting them in New York but, if it fails, they are to meet in six months' time atop the Empire State Building. So far, the film maintains a light mood, albeit punctuated by nostalgia (their visit to Grant's French grandmother, who takes an instant liking to Kerr) and melancholy.
The second half does go overboard with contrivances: the heroine meets with an accident on the day she is to be reunited with Grant; oblivious to this, he believes he has been stood up and grows bitter. Eventually, he attends a theatrical performance with his former intended, only to run into Kerr and her own ex-flame (now devoted to taking care of the crippled woman). In the meantime, the narrative grows even more saccharine with Kerr's taking charge of a children's choir (for the record, we are treated to numerous songs throughout the film since the leading lady also unconvincingly takes up work temporarily as a chanteuse, the actress' voice dubbed – as had been the case with THE KING AND I {1956} – by Marni Nixon)! Anyway, Grant (who has similarly reprised his once-promising painting career to support himself) finally decides to confront her on Christmas Day: it takes him a long time to realize the state she is in, however, though the moment is movingly depicted – when he tells Kerr that his picture of her (wearing the shawl his grandmother had wished the woman to have) was purchased by a disabled lady, only to find it in his beloved's bedroom!
The copy of the film I own is culled from the SE DVD issued as part of Fox's esteemed "Studio Classics" line (subsequent releases, featured even more supplements!) – though I chose not to listen to the Audio Commentary at this juncture (being especially wary of its considerable 115-minute length), the stills gallery did not work on my player, while the 24-minute "Making Of" documentary will be dealt with separately.
Anyway, this is a glossy Fox effort in color and Cinemascope, given added commercial appeal by its title tune (sung by Vic Damone): the central casting, however, is really what makes it work – Grant, Deborah Kerr and Cathleen Nesbitt standing in for Charles Boyer, Irene Dunne and Maria Ouspenskaya. As always, Grant is basically playing himself here, that is to say, the epitome of a ladies' man; indeed, his impending marriage to a prominent society woman is seen making the news the world over in the very opening scene! He meets and falls for Kerr (who has promised to tie the knot with her own boyfriend) during an ocean voyage. Despite their attempts to keep a low-profile on board ship, the couple cannot fool the nosy crew and passengers. They decide to pull their hair down on the last day of the trip, knowing they must part soon after. To this end, they opt to have a go at the life awaiting them in New York but, if it fails, they are to meet in six months' time atop the Empire State Building. So far, the film maintains a light mood, albeit punctuated by nostalgia (their visit to Grant's French grandmother, who takes an instant liking to Kerr) and melancholy.
The second half does go overboard with contrivances: the heroine meets with an accident on the day she is to be reunited with Grant; oblivious to this, he believes he has been stood up and grows bitter. Eventually, he attends a theatrical performance with his former intended, only to run into Kerr and her own ex-flame (now devoted to taking care of the crippled woman). In the meantime, the narrative grows even more saccharine with Kerr's taking charge of a children's choir (for the record, we are treated to numerous songs throughout the film since the leading lady also unconvincingly takes up work temporarily as a chanteuse, the actress' voice dubbed – as had been the case with THE KING AND I {1956} – by Marni Nixon)! Anyway, Grant (who has similarly reprised his once-promising painting career to support himself) finally decides to confront her on Christmas Day: it takes him a long time to realize the state she is in, however, though the moment is movingly depicted – when he tells Kerr that his picture of her (wearing the shawl his grandmother had wished the woman to have) was purchased by a disabled lady, only to find it in his beloved's bedroom!
The copy of the film I own is culled from the SE DVD issued as part of Fox's esteemed "Studio Classics" line (subsequent releases, featured even more supplements!) – though I chose not to listen to the Audio Commentary at this juncture (being especially wary of its considerable 115-minute length), the stills gallery did not work on my player, while the 24-minute "Making Of" documentary will be dealt with separately.