Ever in My Heart

Barbara Stanwyck, the gal who could play any role, is American Mary Archer, who is fawning over her cousin "Jeff" (Ralph Bellamy), until she meets the dashing German Hugo Wilbrant (Otto Kruger). They get married, and soon Germany is invading countries during WW I , which causes turbulence and troubles for the married couple and their family.

Its a shortie, at 68 minutes. I had seen Stanwyck in Ten Cents a Dance in 1931, and in that one, she was still very much a young girl, in style and appearance; in this film "Ever in my Heart", even though only two years has gone by, she is much more grown up, in looks and in sophistication. Too bad Donald Meeks scenes were deleted - he would have spiced up the plot, which could use some humor, with more than its share of sadness. Interesting scene where the little old ladies in the sewing circle giggle and gasp over the horrible things the enemy does to captured prisoners. Technically, the acting and story here are just fine, and I guess the plot would soon be a current event again with the coming of WW II, much less still be an issue with world events going on today. Producer Hal Wallis and Archie Mayo (director) would make eleven movies together in the 1930s.

"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.

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.

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.

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.