In Lincoln, the ambitious aspirant-designer Rae Smith has an incident with a wolf department store businessman and is rescued by the Marine Paul Saxon. They immediately fall in love with ... See full summary »
When her lover is killed, the wife of a wealthy man is convinced to fake her own death, which leads her into greater depths of depravity until fate reunites her with her long-lost son, who is unaware of her real identity.
David Lowell Rich
Fourteen-year-old Tessa is hopelessly in love with handsome composer Lewis Dodd, a family friend. Lewis adores Tessa, but has never shown any romantic feelings toward her. When Tessa's ... See full summary »
Pretty Rae Smith and handsome Walter Saxel meet, fall in love and make plans to marry. Unfortunately, their marriage plans get sabotaged when a jealous beau makes Rae miss the ceremony. The two meet many years later in New York, only now Walter is married. Refusing to be shut out of his life, Rae agrees to be Walter's mistress.Written by
Daniel Bubbeo <email@example.com>
I guess my mistake was seeing the Susan Hayward version first.
I'm the rotten apple in the bunch. Everyone loved this version and blasted the 1961 super sudser. My comments will be brief. I just detested both of the main characters. Boyer's Saxel was a pompous boor at best and a downright t**d at worst. "Well, it's not as if I had a choice about taking this job!" paraphrase he exclaims haughtily when poor, poor Rae complains about his trip abroad. (Guess not...his father-in-law might have cut off his other... well, you know...and put it in his *other* jacket pocket) It was at about this point in the movie that someone needed to start slapping Rae about every 30 seconds or so. Someone called the Hayward version "unbelievable". That 1941-Rae would dump the oh so cute and sweet Curt in favor of that French aristocratic ass is the *height* of disbelief in my opinion. I mean, for crying out loud, Saxel not only left her for an indeterminate period of time but also took his wife with him, didn't tell Rae he was back for a week when he finally did come home and managed to pop off a baby girl Saxel with the little woman while on the boat. "You know how crazy everything gets when a new Saxel is born," <paraphrase> he tells her to excuse his tardiness (with an grudging "a"). Frankly, given his degree of romantic appeal, I'd have questioned paternity. Plot-wise, nobody is that stupid. But, Crazy Rae *still* leaves poor old Curt in the lurch to stand by her t**d. Now *that's* unbelievable. At least the Hayward character had the sense to get a job. In the 1961 version events were related pretty much as they happened...in this version, we are *finally* given an explanation of Rae's foolish devotion to Saxel (ah! now it all makes sense...well, no it doesn't) in so short a time that had I gotten up to yawn I'd have missed it. Saxel's lack of personality and superior attitude never was explained...chalk it up to a bad childhood in France. When the inevitable happened, I could only hope for lightning to hit the other end of the line. Well, I could go on but I won't. If ever a movie needed soaping, sudsing and completely dry cleaned it was this one and the 1961 Hayward/Gavin versions contained just the right brand of detergent. Put it on a hanger, slap it on the rack and tag it with a "00". I confess, in retaliation and outrage I voted the 1961 version a 10.
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