Mi reputación

Wartime soap-romance with Stanwyck, and she's excellent even by her own lofty standards, as a young Chicago widow with children whom the Lake Shore Drive set doesn't know what to do with. Her pompous mama, an amusing Lucille Watson, and her two sensible sons want her to be a conventional widow. Then she meets George Brent... The mid-century problem of what role a woman without a man is supposed to play is dealt with with some insight, and it must have resonated mightily in 1946, with so many women thrust into this unfamiliar territory. Brent, so handsome in his youth, was by this time puffy and artificial-looking, and isn't an ideal love object. Nor is Eve Arden given enough to do in a conventional best-pal role. But Stanwyck's so graceful and sturdy, and the Warners production so assured, that you stick with it and root for the pair to triumph over their gossipy milieu. It ends pretty abruptly and not altogether convincingly, but there are many good scenes along the way, and we sure do love Babs.

My Reputation (1946)

This comes at the real peak of Barbara Stanwyck's career, a couple of years after her now most famous film, "Double Indemnity." And she's terrific, playing from the first minute a widow who now has to put her life back together, all with the equally terrific Lucile Watson as her strong willed mother. There is also the dependable Eve Arden as a sidekick, not so different than Joan Crawford's in "Mildred Pierce," and the perfectly cast Jerome Cowan as a suitor who moves in on her before she has quite realized she's a widow. Eventually the stellar cast is filled in by George Brent, ever stable and likable…with his inevitable appeal to the main character.

So this is a great 1940s drama, filled with deep sentiments, tight friendships, distraught characters who need more than they can ever get, and rays of hope. It fits the needs of an audience which was filled with women recently widowed, either literally or figuratively with men returning from the war not ready to be the men they were before going away. It is 1946, after all, a giant tipping point in American social life.

Do you want more reasons to love this movie? The music is by the legendary Max Steiner (who scored "Gone with the Wind" for starters). And the cinematography is by the superb James Wong Howe (who shot the stunning "Sweet Smell of Success").

What slows the film down at all is plain old chemistry—Brent is not a convincing leading man, for me, and he and Stanwyck don't seem capable of really smoking on screen. The plot does imply a formality at first, and so it makes sense as far as that goes. But eventually we are meant to feel both characters in their loneliness, and their longing for each other. The war literally comes into play, and it must of struck painful chords in many.

One of the more interesting aspects is the problem of a widow dating a new man with the eyes of her friends and neighbors watching, and disapproving of, her every move, reaching the point of scandal for no reason. I'm sure the point of the movie is partly to push that point, so the world would be be more understanding. There is a huge scene at a party, just before the new couple rushes to Chicago for a dramatic New Year's Eve.

So imagine a vividly photographed, highly emotional drama that fit into the needs of the times perfectly. Does the movie rise to its intentions—quite well, very intelligently, yes. I say see it, and you'll find many things to love.

Having just lost her husband after an extended illness, "Jessica Drummond" (Barbara Stanwyck) has two boys and a controlling mother to contend with while she becomes increasingly lonely. The constant pressure on her to conform in the manner that a widow is expected to act in the early 40's begins to wear on her terribly. So, when it all gets too much she decides to accept the advise of a close friend named "Ginna Abbott" (Eve Arden) to accompany her husband "Cary Abbott" (John Ridgely) and her to Lake Tahoe for a winter vacation. While there she meets an army major by the name of "Scott Landis" (George Brent) who suddenly makes her feel alive again after such a long time. Unfortunately for her, the high society in which she has lived all her life doesn't accept the fact that she has begun seeing another man even though she hasn't done anything wrong. At any rate, rather than divulge the entire story I will just say that this is a good drama about social pressures during the period of time when America had just entered World War II. There is some moralizing here but the film also gives another point-of-view at the same time as well. A pretty good movie all things considered.

"My Reputation" is a good example of a certain kind of vintage Hollywood product: it's glossy, yet carries certain real truths. In beautifully modeled black and white, set in a tony upper-class milieu, and with one of Max Steiner's creamiest scores, it examines a young matron's search for autonomy, when her husband dies after a long illness. Set in 1942, it makes numerous references to the war, so possibly this post-war film was meant to allude to the loss that many wives suffered due to the war (or it was one of those films made during the war but not released for several years).

I think Barbara Stanwyck was incapable of giving a bad performance. Whatever the material, she shone and was absolutely "there." Early in the film there is a scene in which she reads a letter that her late husband had written in the knowledge that it would be read after his death, and she is devastating. There's a kind of bookend scene at the film's end when she tries to explain to her children the nature of her love for a man who has come into her life after their father's death, and again she breaks your heart. In much of that scene she is in shadow as she speaks, so that her voice alone carries the emotion.

Barbara Stanwyck's self proclaimed favorite amongst her films this classy soap opera is uniformly well acted and well appointed. It would seem after viewing the film that she was so fond of it because it afforded her the opportunity for many shades of emotion as a recent widow struggling with conflicting feelings. First there are the responsibilities to her young sons who are still recovering from the loss of their father something that is being constantly pointed out by her shrew of a mother, the great Lucile Watson. At first she seems resigned to basically being a professional widow sacrificing any life of her own for her duties and then suddenly George Brent enters the picture and she starts to realize that perhaps there might be a chance for something of her own again, an idea supported by her good friend Eve Arden but then her judgmental mother and false friends make her question her right to happiness. Good stuff movingly enacted.