Paul255378 It seems like over the past 20 years, every time I have seen a documentary on the golden age of Hollywood, they play the last scene from this movie where Paul Henreid lights two cigarettes at once and hands one to Bette Davis.I have always wanted to see the movie and recently I watched it. Bette Davis is superb in the role of Charlotte Vale, a woman under the thumb of an overbearing mother. Equally impressive are Claude Rains, as her doctor, Dr. Jaquith and Paul Henreid, as Jerry Durrance, a man who befriends her on an ocean voyage.The movie takes you along on her journey from an insecure spinster to that of a woman who has everything.If you are a fan of film, this is an essential.

l_rawjalaurence In the cold light of day, the plot of Irving Rapper's immortal classic is absolute tosh. Charlott Vale, a dowdy spinster (Bette Davis) is transformed into a classic beauty, falls in love with a married architect (Paul Henreid), and ends up in an arrangement of doubtful morality where she looks after his daughter Tina Durrance (Janis Wilson) full-time at her house while he goes back to his wife. Love remains unfulfilled, but at least Charlotte has found her métier in life.But to criticize this timeless classic, based on Olive Higgins Prouty's best-selling novel, is to overlook the panoply of memorable moments it contains, from Davis's first appearance coming down the staircase in a shapeless dress and glasses, to her showing her ivory carvings - for the first time - to Dr. Jaquith (Claude Rains), her arguments with her bitchy mother (Gladys Cooper), and her tenderness when dealing with equally insecure teenager Tina. Oh, and don't forget the memorable details of her love-affair with Jerry, from the stylish way he lights two cigarettes at once, then passes one on to her; to their night spent alone on a Brazilian mountain; their conversation by moonlight accompanied by Max Steiner's memorable theme; and the film's final line ("Oh, Jerry, don't let's ask for the moon. We have the stars").The film shows Davis at her very best as she changes chameleon-like from a put-upon daughter to a socialite with the aid of Orry-Kelly's wonderful costumes. Her hairstyles also change, as do her body- movements; at the film's beginning she clasps and unclasps her hands as she faithfully carries out her mother's wishes while trying to avoid another fit of hysterics. When she meets Jerry (Henreid) for the first time onboard ship, she resembles a wolf in sheep's clothing, as she fingers her fur wrap gingerly, in full knowledge that it does not belong to her. Contrast such hesitation with the confident way she disembarks from the Port of New York to meet her sister-in-law Lisa (Ilka Chase) and niece June (Bonita Granville) and astonishes both of them with her supreme self-possession.The love-sequences between Davis and Henreid are truly memorable - not so much for their overblown dialogue, but because the two of them are so good at suggesting the passions that have overcome their reason and throw them together at any and every opportunity. Henreid generally played more introverted roles; this was one of the few occasions when he had the chance to let rip emotionally, and he grasps his opportunity with both hands.The supporting cast of British émigrés Rains and Cooper are equally memorable. Rains makes a thoroughly convincing job of the sympathetic psychiatrist, who likes Charlotte even when she breaks all the rules; and Cooper, her hard face staring stonily at her unwanted daughter, comes across as a thoroughly amoral woman who is more than willing to put on an act of feigning illness, so long as she remains the center of attention.NOW VOYAGER is one of those movies you can watch again and again without tiring of it; its emotional force brings viewers to tears even though it is now over seventy years old.

Marcin Kukuczka Along with DECEPTION by Irving Rapper, NOW VOYAGER, the title of which is derived from Walt Whitman's poem "Leaves of grass," is clearly one of Bette Davis' most crucial films from the time of her contract with Warner Brothers Studio. However, "a highly narcotic, swoon inducing romance in the Bette Davis canon," as New York Times labeled the movie, brings out something widely known by the television generations: a daughter on the verge of nervous breakdown, desperate to find her independence, struggling to escape her monstrous, forbidding mother in order to, at last, seek and find a home of her own, a man of her own and a child of her own. Eager to find a way out, she receives help from a psychiatrist. Consequently, much to her mother's dismay, she comes to a moment when she is not afraid of being herself. Nothing new...indeed...because, as it has also been the case with DECEPTION, the backbone is pure soap opera. What makes us ignore the flaws derived from this very sort of the perceptions such content evokes is the artistry at multiple levels, Hollywood's most powerful tool of illusion and magnetism, the film is thoroughly supplied with.First and foremost, this artistry resides in the performances. Bette Davis convincingly portrays a character who undergoes, I can allow myself this word, metamorphosis. From being a person who is 'alone in all ways,' she depicts a change prompted and wonderfully motivated by Dr Jasquith (Claude Rains). Although this 'metamorphosis' may occur banal due to diminishing a human to mere looks, fashionable clothes and sentimental exclamation of being content with stars...not asking for the moon, her moments are played with ease and the desirable insight necessary in the role of that sort. She does not make her character laughable and, at the same time, instills sufficient amount of tear jerking euphoria. From the sentimental introduction of her character with the drops of rain behind the window to the moonlit moments of romance constitute a thoroughly convincing depiction.Her leading men, Claude Rains and Paul Henreid, differ considerably and, yet, create vibrant characters of lasting significance. The versatile actor, Claude Rains, skillfully portrays the psychological essence of the movie (1942 was too early to talk about psychoanalyzing characters and yet, we can find certain tendencies). He is, consequently, easily identified with and very likable. The romantic looking actor Paul Henreid, though not placed in sheer rivalry against Rains' character as it is the case of DECEPTION, is again provided with European flair. The much appraised scene of the two (Bette and Paul) lighting a cigarette echoes the never ending power of illusion within the same spirits but different methods of Hollywood.Among the supporting cast, a mention must be made of Gladys Cooper who portrays the villainous manipulative mother - someone who could equally display a powerful insight under Hitchcock's guidance. Nominated for the Best Supporting Actress at the Academy Awards, Ms Cooper delivers a tremendous portrayal of a domineering personality. In one scene, thanks to the gorgeous camera-work, we see the back of her hand encompassing the foreground of the screen frame while Bette Davis' character remains in the background. One of the milestone 'evil incarnates' on screen with the overtone of critical approach towards cruel family ties, of course.The artistry's triumph also lies in the entire visual subtlety of the movie – all is neat and elegant. Since some viewers consider this film to be a woman's picture or a 'weenie,' these interiors almost heaped with decorations of highest caliber. Apart from some public events' scenes, consider the Rio sequence which cleverly combines charm with humor and incorporates a variety of elements that result in truly aesthetic viewing experience.In that relation, there is a need to give full credit to Max Steiner for his fabulous music score filled with dynamic tensions and powerful parallels with characters' feelings. Reminiscing certain classical pieces moderated and adapted to the cinematic needs (just to name Tschaikovsky), he deservedly won the award.To sum up, it is undeniably one of the most 'artistic' novellas on screen where you not only have Bette Davis' eyes but display of powerful performances, stunning cinematography, memorable score and direction of great caliber. One of those precious products of old Hollywood that is no more. Worth seeking and finding.

Wael Katkhuda what shall i say, it's another legendary performance by the legend Bette Davis. To begin with The first time i heard about miss Davis was in this film, and that was at 2006, and it took my all this years to watch it finally, and i must tell you it was worth it. before i see this Pic i always felt that Bette Davis can only play the hard roles ( even with Dark victory 1939 she was a strong character) but after i saw this one it convinced me that she can play any role u may thinking of including the weak heroine There were moments that made me cry when she was at the train station and the final scene when she refused to kiss her lover even she loved him very much even more than herself. I should also give a special thanks to Miss. Gladys Cooper who played Davis mother, she was really a great at her part ( a very strong character) and with all her scenes she never smiled which is a very important thing to give for the character. Finally i recommend this movie for anyone who wants to see the legend Bette Davis at her peak of both here acting skills and her beauty.