Of course there would be no chance of casting the 1941 Technicolor musical remake of the wonderful and incredibly moving 1932 fillm, with Norma Shearer, Fredric March and Leslie Howard, aside. Have always absolutely loved Technicolor and have been blown away by it numerous times, and also musicals (or more in this case play/film with music). Have liked what has been seen of Frank Borzage's films, quite a fair bit more to see, and do like Jeanette MacDonald and have never minded at all her voice. Can take or leave Gene Raymond.
When inevitably comparing which is the better film of the 1932 and 1941 versions, there is no doubt at all in my mind which is the better of the two. Being someone who loves the former and is rather conflicted on the latter. By all means this version of 'Smilin Through' is worth a curiosity look and it is not that impossible to sit through. Everybody involved has done much better work, with it being one of not many near-misfires from Borzage.
1941's 'Smilin Through' has advantages. It is very handsomely produced and perhaps more lavish than the 1932 film, the Technicolor truly opulent and blazing quite thrillingly. The music is both beautiful and rousing, not to mention catchy. Several songs populate the film and although momentum dips a bit when they feature, they are great songs and suit MacDonald's voice very well. "Land of Hope and Glory" is quite spirit-rousing and affecting.
MacDonald, at her loveliest, also comes off well dramatically, the role(s) does stretch her and it is quite different and more complex to her usual roles but she brings charm and pathos. Aherne is sympathetic and is a lovely match for her. Parts do bring a lump to the throat, especially the church death scene.
Raymond however is a disastrous miscast, there is nothing appealing about him whatsoever and he is almost too caddish/smarmy. He also, as some have already said, has no chemistry with MacDonald, that he and she were actually married in real life yet her and Aherne's chemistry was a million times more believable is a worrying sign. Nelson Eddy would have been a much better choice. Borzage seemed neither interested or comfortable in his direction.
Just felt that way because the pace can be quite stodgy, and although it is already a complicated story it was handled far more cohesively before whereas it was near-convoluted here. It is far too melodramatic and the treacle and schmaltz, both of which the 1932 film did not do, becomes too hard to take due to the amount of them being excessive.
In summation, not a bad film but left me very conflicted. 5/10
When inevitably comparing which is the better film of the 1932 and 1941 versions, there is no doubt at all in my mind which is the better of the two. Being someone who loves the former and is rather conflicted on the latter. By all means this version of 'Smilin Through' is worth a curiosity look and it is not that impossible to sit through. Everybody involved has done much better work, with it being one of not many near-misfires from Borzage.
1941's 'Smilin Through' has advantages. It is very handsomely produced and perhaps more lavish than the 1932 film, the Technicolor truly opulent and blazing quite thrillingly. The music is both beautiful and rousing, not to mention catchy. Several songs populate the film and although momentum dips a bit when they feature, they are great songs and suit MacDonald's voice very well. "Land of Hope and Glory" is quite spirit-rousing and affecting.
MacDonald, at her loveliest, also comes off well dramatically, the role(s) does stretch her and it is quite different and more complex to her usual roles but she brings charm and pathos. Aherne is sympathetic and is a lovely match for her. Parts do bring a lump to the throat, especially the church death scene.
Raymond however is a disastrous miscast, there is nothing appealing about him whatsoever and he is almost too caddish/smarmy. He also, as some have already said, has no chemistry with MacDonald, that he and she were actually married in real life yet her and Aherne's chemistry was a million times more believable is a worrying sign. Nelson Eddy would have been a much better choice. Borzage seemed neither interested or comfortable in his direction.
Just felt that way because the pace can be quite stodgy, and although it is already a complicated story it was handled far more cohesively before whereas it was near-convoluted here. It is far too melodramatic and the treacle and schmaltz, both of which the 1932 film did not do, becomes too hard to take due to the amount of them being excessive.
In summation, not a bad film but left me very conflicted. 5/10