Ever in My Heart

This exceptional film could be described as a sentimental melodrama. I'd describe it however as one of the most moving and emotional tragic romances of the 1930s. It's beautifully made, intelligently written and not just a picture for granny to watch on a Sunday afternoon (although she'd love it too)

An American lass falls for a German lad just before The Great War - you know it's not going to turn out well but you'll never imagine that you'll be so transfixed, so absorbed by this superbly crafted story. Themes of prejudice, snobbery and racism are dealt with in a remarkably modern and mature way which are all of course exaggerated by the onset of the war. It is however a 1930s Warner movie so although it's done a lot more subtly than was common back then, it does have its slap you in the face and punch you in the stomach moments.

What silly people we were back then to be brainwashed by the media into hating a race of people just because they were different. Glad we've changed!!!

When Archie Mayo put his mind to it, he really could make masterpieces. THE PETRIFIED FOREST is one example and this is another. In the cold light of day, the story is really quite corny and far-fetched but as you watch it, his skill as a filmmaker puts you there, this is happening, these are real believable people. Some of the emotion might be laid on with a trowel but so was ROMEO AND JULIET! This heartbreaking, emotional rollercoaster of clichés is helped along by having some of the most naturalistic and powerful acting of the era. Barbara Stanwyck has never been better.

There's no doubt whatsoever in your mind that Barbara Stanwyck really does fall in love with Hugo - I've never seen anything so realistic in my life. It's her eyes! I can only imagine the effect they'd have on you on the big screen as intended - I think the audiences would melt - quite breathtaking! She's not playing the tough rough diamond, the sexy seductress or the scheming manipulator - she's playing someone you care about, someone you could love. Her acting is absolutely outstanding. The fact that you believe, or rather know that she and Hugo are in love makes the rest of the story all the more poignant.

Ever in My Heart (1933)

*** (out of 4)

Surprising powerful and effective drama from Warner has Otto Kruger playing Hugo Wilbrandt, a German man who comes to live in New England where he's accepted into American society and eventually marries Mary Archer (Barbara Stanwyck), a woman from a proud American family. All is well for the couple and their young son until WWI breaks out and soon they find themselves subject to many who now can't accept their ties to Germany. There's no question that this was made on the budget of a "B" movie but at the same time you can tell that the studio, directors, actors and writers cared so much about the subject and every inch of the film bleeds a certain love that you can't help but get caught up in their story, feel the pain of the family and at times breathe a bit of hatred for those treating the family in such a bad way. It's funny to think that at one time filmmakers were ripped apart for showing any type of sympathy towards the German people but I guess after ALL QUIET ON THE WESTERN FRONT, filmmakers were allowed to show things differently. It's funny that this movie tries to show the evils of what some Americans did while back in the days that this story actually took place Hollywood were turning out all sorts of propaganda, which probably helped fuel the fire of many Americans. With that said, this is an extremely powerful movie at times and this is especially true in a couple scenes that once you see you'll unlikely to ever forget. I'm not going to directly spoil either one of them but one happens with Kruger in bed with his son and the other happens at the end. Both are so true in their emotions that you're rather shocked to see the filmmakers be brave enough to show them. The performances are certainly a major plus with Kruger turning in one of the best performances I've seen from him. He was always a great character actor but he really shines in the leading role here. I always say being able to act with your eyes is a very difficult thing to do but I was constantly watching Kruger's eyes, which said so much during the various important parts of the film. Stanwyck is also extremely good in her role of the wife who finds your life falling apart when just months before it was perfect. The supporting cast includes nice work by the always reliable Ralph Bellamy and Ruth Donnelly is good as the housekeeper. EVER IN MY HEART lasts just under 70- minutes and one would think that wouldn't be enough time to really get deep into the serious subject matter but it actually works out perfectly because the mind frames of people in this country turned on a dime back when the war started and I think the film, running as fast as it does, did a terrific job showing this.

"Ever In My Heart" starts off slowly and uneventfully, a pretty pedestrian story that seems both tendentious and predictable. Barbara Stanwyck grows up in a waspy New England town. Her best friend/fiancé (Bellamy) returns from Europe with a German friend (Kruger), who sweeps Stanwyck off her feet. They marry. WWI arrives and the town turns against the couple, who are accused of sympathizing with the Germans. Hardships ensue.

Stanwyck is terrific, and Otto Kruger is surprisingly warm and effective in his role. Later in his career he played spies and double agents in scores of WWII films. Ralph Bellamy, of course, played the good-natured slob who lost the girl.

The film is a hyperbolic screed against small-town prejudice, and the first half seems forced and simplistic, but picks up in the second half with the onset of the war. I thought the ending was quite powerful and hard to watch, a tribute to actors who know their craft. I appreciate Stanwyck more with each picture, mostly these early ones which are seldom shown.

BARBARA STANWYCK gives a very sensitive performance as a perfectly normal young woman whose marriage falls apart after the hostility of townspeople towards her German husband during the period of WWI. She does a commendable job as a woman who suffers the consequences when friends and colleagues destroy their relationship, showing a sweet and vulnerable side that she seldom exploited in later films.

It's a subtle look at a German-American marriage at a time when Germany was launching into World War I. OTTO KRUGER is cast as her German husband, and he too gives an understated, sympathetic performance that is compelling to watch.

Poor RALPH BELLAMY has another one of his hapless roles as a man he describes as "an unromantic bachelor." Nevertheless, he brings energy and eagerness to his role of a man in love with Stanwyck.

Stanwyck has a much softer look and is very attractive in the lead. An interesting little item from her early career that exploits her warmth, charm and sincerity as few early films ever did.

Trivia note: It strikes me as unusual that the director is Archie Mayo, more noted for the light, fluffy romantic comedies he did for most of his career at Warner Brothers rather than the sober melodrama with social significance that he does so well, complete with a downbeat ending.

This poignant and graceful doomed-love weeper deals with a facet of American history rarely explored. In a beautifully restrained performance, Barbara Stanwyck plays a Daughter of the American Revolution who marries gentle German immigrant Otto Kruger. Upon the outbreak of the First World War, they become victimized by anti-German sentiments.

With tasteful understatement and an unusual attention to period detail, director Archie L. Mayo paints a vivid tableau of social intolerance that must have been quite daring in its time (the scars of the Great War were still fresh in '33). The writers, unfortunately, couldn't resist a nosedive into Mata Hari-like spy machinations, an eleventh hour plot contrivance that strikes an indelicate note. Even so, the film's quiet sensitivity stays with you long after.

With Ralph Bellamy (as the inevitable jilted boyfriend), Ruth Donnelly, Laura Hope Crews, and Clara Blandick.