Rosana B
Assistindo simultaneamente, porem alternadamente, Love Affair, de 1939 e seu remake An Affair to Remember, de 1957, ambos mantém a mesma ideia e até mesmo a repetição dos diálogos, sendo a versão de 57 levemente, mas expandida com acréscimo de duração, a versão colorizada de 39 o aproxima ainda mais ao seu sucessor, tanto na qualidade técnica quanto no desempenho final… Tão lindo, comovente, trágico, dramático e romântico, a moda antiga… Fofo...
Rated 3.5/5 Stars •
Rated 3.5 out of 5 stars
09/04/24
Full Review
Leaburn O
Superior to its more famed successor, An Affair to Remember, this one has more chemistry between the leads and a touching performance from the grandma. A lot to enjoy about this classic and pleased I got to watch it. Saw this one on BBC iPlayer.
Rated 4/5 Stars •
Rated 4 out of 5 stars
12/15/23
Full Review
isla s
As a classic black and white 'weepy' type film, this is quite good. Its a bit cheesy but it has some nice dialogue and decent performances and its quite watchable. It may not be entirely what you expect but I would suggest tissues aren't a bad idea if your particularly prone to crying when watching films. I'd recommend this film, yes.
Rated 4/5 Stars •
Rated 4 out of 5 stars
03/31/23
Full Review
Audience Member
Directed by Leo McCarey, this 1939 romantic classic is the first and best version of the old warhorse of a fateful shipboard romance between an aimless playboy and a nightclub singer, both engaged but appearing to be destined to reunite on the top floor of the Empire State Building. The elaborate, shot-for-shot 1957 remake again directed by McCarey with Cary Grant and Deborah Kerr is much better known, and Warren Beatty even saw fit to remake it yet again with his wife Annette Bening for a 1994 update featuring an 87-year old Katharine Hepburn in her last film role.
But it all started with this more modest film starring a smart, luminous Irene Dunne as Terry McKay and Charles Boyer all continental charm as Michel Marnet. The story is as contrived as ever, but the script co-written by McCarey, Mildred Cram, Delmer Daves and Donald Ogden Stewart is full of clever dialogue to go with the soap opera elements. It's too bad the print condition is so bad given that it has fallen into the public domain, but you can still get a strong sense of the craftsmanship behind the film, especially Rudolph Maté's soft-focus cinematography.
Even though Maria Ouspenskaya gives her most sympathetic performance as Grandmother Janou (she was wonderfully malevolent in "The Wolf Man"), it's really the chemistry between the two stars which keeps this afloat, especially Dunne who was so dexterous in comedy and drama in her prime that she is far superior to either Kerr or Bening. She even gets to sing two songs most winningly, one a Harold Arlen gem called "Sing My Heart". Even though you are likely to know every scene by heart from the 1957 remake, it's still quite worthwhile to enjoy the antiquated charms of the original.
Rated 4/5 Stars •
Rated 4 out of 5 stars
02/08/23
Full Review
steve d
The story isn't great and it has been done to death.
Rated 2/5 Stars •
Rated 2 out of 5 stars
03/30/23
Full Review
Audience Member
A film so influential that it spawned countless remakes and imitators, most of which I have seen, is something that I expected to be more exciting than it was. One must simply accept that the limitations of a film made in 1939 as it is unfair to expect technical brilliance but with competition in the Best Picture lineup like Gone with the Wind (1939) and Stagecoach (1939) this can't help seeming like a disappointment. I must say that I believe that Sleepless in Seattle (1993) significantly improves on this predecessor and where this film lacks passion, humor and a spark of romance that film comes alive with the warmth of a Nora Ephron screenplay and a fantastic leading performance from Meg Ryan.
Famous painter Michael Marnet, Charles Boyer, is tabloid fodder and his engagement to heiress Lois Clarke, Astrid Allwyn, is highly discussed when he boards a cruise ship crossing the Atlantic Ocean. He becomes attracted to the singer Terry McKay, Irene Dunne, despite all of the women on the boat throwing themselves at him and her engagement to the supportive Kenneth Bradley, Lee Bowman. They fall in love as they spend their days together and when McKay meets Marnet's grandmother Janou, Maria Ouspenskaya, in Madeira, Portugal she realizes that she may be the one for him as she urges her grandson to settle down. The two decide to meet again in six months atop the Empire State building but when the time comes McKay is struck by a car and is crippled which means that she can not see him. Because she is ashamed of her condition she does not contact him and hides out a children's home but the two pine for one another even as they are separated. The two are finally reunited and admit their love for one another when McKay's condition is revealed.
Watching the film was an odd experience for me as because it was only 87 minutes I expected it to be a light, breezy picture that I would enjoy even if it was too melodramatic in the eyes of others. What I got instead was a film that was a tremendous bore for most of it's running time as while it had a concept that was intriguing and could provide for many romantic moments in execution it failed to pull these off. Where the need for romance in the lives of the lonely Sam Baldwin and Annie Reed is set up wonderfully with their current relationships appearing unfulfilling in a variety of ways here we only get a glance at the other romantic partners that these characters have had. In this film Dunne and Boyer spend a considerable amount of time together and yet none of their face to face interactions quite convinced me that they were in love as the movie wanted me to believe. Conversely, one scene in Sleepless in Seattle in which Baldwin describes his love for his wife on a radio show while Reed listens in, visibly emotionally moved, does more to convince us that these characters are right for one another than any real meet cute could. This film lacked any passion and intensity and I was so bored by the couple when they were together that I struggled to root for them to return to another's arms.
Dunne and Boyer are both capable of giving decent performances as shown by her work in Theodora Goes Wild (1936) and his work as a villain in Gaslight (1944) but they generate little passion here. Dunne comes across as more natural than many actresses of this era which I applaud but after awhile she ceases to be appealing as she is left with very little to do but smile and giggle in the presence of her paramour. This is not entirely Dunne's fault as the screenplay writes McKay as an incredibly generic character with few flaws and little more to do than suffer photogenically. There is the opportunity for emotional depth in Boyer's character but he opts instead to play a version of Louis Jourdan in Gigi (1958) as he comes across as smug and insincere without trying to. Dunne did not deserve her Best Actress nomination in such a crowded year and leads with more chemistry would have elevated the film significantly.
Rated 2/5 Stars •
Rated 2 out of 5 stars
02/01/23
Full Review
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