Wonderful character development!

the audience applauded

This is ultimately a movie about the very bad things that can happen when we don't address our unease, when we just try to brush it off, whether that's to fit in or to preserve our self-image.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

The strength of Back Street is the writing in the early scenes where Ray and Walter fall in love. Too many modern movies don't know how to write romantic dialogue; the two just meet, look into each other's eyes and are eternally smitten. These modern writers could learn a lot from watching Back Street. The romance is believable, and were it not, the entire movie would not work. However, we do not know for sure as we watch early on if it is true love or infatuation. And there is a feeling that certain turns of plot are dictated by the rules of motion picture morality, but they are not. Back Street is not a simple, predictable romance.So here is my ...Spoiler alert: Back Street is an adaptation of The Scarlet Letter to the 20th century. It is about adultery, but not the usual "sex-driven adultery is bad" story. It is about adultery driven by true love. The theme of true love is one that does not go out of date, nor is it at odds with political views, such as one poster suggests, feminism. And Ray is not dependent on Walter, as she has a job and later becomes a successful dress designer. She is a fairly modern woman. The lesson of Back Street that makes it relevant for today is that we, like the prudes in The Scarlet Letter, should not be so quick to judge others for romantic or sexual improprieties. Here we are in the 21st century and we are as hypocritical as the Puritans of the 17th century. When someone is found to have committed an indiscretion, we should consider the possibility that they might actually love each other, and show some understanding. Of course, in many of the bizarre stories in the news involving politicians, love probably has nothing to do with it, so much as power and stupidity. But that is not what Back Street is about; it is about the power of true love and fate.The director Robert Stevenson is not a big name, though he did some well known movies later. The most interesting element of the movie is the use of ambiguity: We do not know for sure what sort of fellow Walter is when he enters, nor for a long time afterward; nor do we know for sure what sort of person Ray is, which is how things are in life. There are hints in the plot that the viewer picks up on, such as that Curt will one day become successful with those new-fangled automobiles. But that still doesn't tell you a lot. All considering, Back Street is a realistic movie that avoids oversimplification. It even introduces the element of pain the affair causes the family and children. The element that is out of date, of course, is that these days they would just get divorced and marry each other, the feelings of the children be damned. Is that progress?

BACK STREET (Universal, 1941), directed by Robert Stevenson, is one of the finer love stories from the "soap opera" school that owes its success to the popular 1931 novel authored by Fannie Hurst. Initially produced by Universal in 1932 starring Irene Dunne and John Boles, this latest edition not only improves in style and performance from the earlier tearjerker, but simply indicates how "great movies are not made, they're remade." Usually whenever an original product gets redone, comparisons are usually made. There's no question that the Dunne and Boles romancer proved highly successful, but in contrast, this edition benefits greatly by its fine scripting by Bruce Manning and Felix Jackson, believable performances by Charles Boyer and Margaret Sullavan, and most of all, its impressive and sensitive scoring by Frank Skinner.Following the same pattern to the original, with few alterations along the way, the story gets underway in "Cincinnati, at the turn of the century" where Ray Smith (Margaret Sullavan) parades down the street with Curt Stanton (Richard Carlson), owner of a bicycle shop who later becomes an automobile manufacturer in Michigan. While Curt loves Ray and hopes to marry her, she very much prefers her carefree lifestyle and the company of various male suitors, especially Eddie Porter (Frank McHugh), a traveling salesman. While Ray bids Eddie farewell at the train station, he introduces her to Walter Louis Saxel (Charles Boyer), a Louisiana Frenchman and prominent New York banker arriving on a short stay before leaving on the next ferryboat. Not only do Ray and Walter become better acquainted within a few hours, but fall deeply in love. Having remained in town longer than expected, Walter makes arrangements to leave. Before he does, he confesses his engagement to marry and that they will never see each other again. The following morning, however, Walter, who cannot forget Ray, telephones her to meet him at the dock. Before her arrival, Walter makes preparations for a surprise wedding that's to take place on the boat between him and Ray. As Ray closes shop to meet Walter, situations occur preventing her from arriving at all. By the time she does gets there, she finds Walter gone and the ferryboat slowly disappearing from view. Five years pass. Ray, now a clothing designer in New York City, meets Walter again, now a prominent banker. Regardless of Walter now a married man with a son, the couple find they cannot live without each other. For the next 25 years (with its final chapter set in 1928), Ray lives the "back street" of Walter's life, passing herself off to others as his wife, Mrs. Raymond Smith. Problems take its toll as the middle-aged Ray is confronted by Walter's two grown children (Tim Holt and Nell O'Day). Having known of their father's illicit affair, they make ever effort of doing something about it.The basic premise to BACK STREET is "what if?" What if Ray were able to meet Walter at the dock and marry him as planned. Would their lives have been happier? Possibly so. Had it worked out that way, then there wouldn't have been the classic story of complications as we know it. Essentially a Sullavan film, it is Boyer whose name heads the cast of such notables as Esther Dale (Mrs. Smith, Ray's stepmother); Kitty O'Neil (Mrs. Dilling, the kindly landlady); Frank Jenks (Harry Niles); Samuel S. Hinds (Felix Darren); Nella Walker (Corinne Saxel, Walter's wife); Peggy Stewart (Freda, Ray's sister); Cecil Cunningham (Mrs. Miller) and Marjorie Gateson (Mrs. Adams). There's also surprise casting of cowboy actor Tim Holt playing Boyer's son, and a more or less straight performance by funster, Frank McHugh.Boyer, the romantic, is no stranger to motion picture love stories, with LOVE AFFAIR (RKO Radio, 1939) opposite Irene Dunne, being one of his best portrayals. However, his Walter Saxel is less sympathetic due to his selfishness for keeping both wife and mistress, and the way he takes Ray for granted. One such scene is evident as Walter spends an entire summer vacationing in Europe with his wife, with Ray waiting alone in her apartment for his letters that never come. Upon his return, days after the boat docks, Walter, without considering Ray's feelings, presents the news he's a father again. Ray, on the other hand, is strong willed except when it comes to Walter. Comparing the climatic showdown between father and son in both 1932 and 1941 editions, the soft-spoken Boles, best suited for faithful husband roles, presents himself as weak while Boyer's strong voice and forceful manner, especially when telling his son to mind his own business, is truly felt. Irene Dunne (Ray Schmidt) and Margaret Sullavan (Ray Smith), two different screen personalities, form their own interpretation of the same heroine, which works well on both levels for their performances.BACK STREET proved favorable viewing with its frequent TV broadcasts throughout much of the 1970s, especially on WOR, Channel 9's "Million Dollar Movie" in New York City. In an August 1975 showing, BACK STREET was given a special broadcast without commercial interruptions. Interestingly, however, only the third retelling of the story, the 1961 modern-dress/ Technicolor version starring Susan Hayward and John Gavin was made available onto home video in the 1990s. In 2011, both 1941 and 1961 versions to BACK STREET have become available on DVD package through Turner Home Entertainment. A pity there wasn't a triple feature using all three editions to the Fanny Hurst tearjerker. Cable television history to 1941's BACK STREET consisted that of American Movie Classics (1990-1998), sometimes on the double bill with the 1932 original, and Turner Classic Movie (TCM premiere July 19, 2001.) While Boyer and Sullavan worked together again, this time in a comedy titled APPOINTMENT FOR LOVE (Universal, 1941), it's this version of BACK STREET for which they will be remembered best. (***)

Margaret Sullavan is one of my all-time favorite actresses with her husky voice and haunting screen presence. The original version in 1932 with Irene Dunne and John Boles was dull and stage-bound; the later version with Susan Hayward was just too gaudy. This is the version to watch! Margaret gives an exquisitely heart-rending performance as a turn-of-the-century miss who falls in love with a man (played by the smooth but oh-so-serious Charles Boyer). Fate intervenes and the two lovers are separated. They meet again years later, but, true to the classic weeper formula, he is married. Despite her better judgment, she carries on a "Back Street" romance with him for many years until their untimely demises.Promoted with the tag line, "If you have tears, be prepared to shed them", this movie does involve some suspension of disbelief. For example, for such a level-headed gal, why does Margaret allow Boyer to treat her so shabbily? Just when I am about to shake my head and yell "Why?", Margaret then either let loose with the tears or try to hide the choking sob in her voice, and I'm transfixed all over again.This film does feature solid direction, beautiful photography and some good supporting performances (I particularly liked Frank McHugh in this one). This film remains on my "Wish-They-Release-This-One-on-Video" list.

I'm the rotten apple in the bunch. Everyone loved this version and blasted the 1961 super sudser. My comments will be brief. I just detested both of the main characters. Boyer's Saxel was a pompous boor at best and a downright t**d at worst. "Well, it's not as if I had a choice about taking this job!" paraphrase he exclaims haughtily when poor, poor Rae complains about his trip abroad. (Guess not...his father-in-law might have cut off his other... well, you know...and put it in his *other* jacket pocket) It was at about this point in the movie that someone needed to start slapping Rae about every 30 seconds or so. Someone called the Hayward version "unbelievable". That 1941-Rae would dump the oh so cute and sweet Curt in favor of that French aristocratic ass is the *height* of disbelief in my opinion. I mean, for crying out loud, Saxel not only left her for an indeterminate period of time but also took his wife with him, didn't tell Rae he was back for a week when he finally did come home and managed to pop off a baby girl Saxel with the little woman while on the boat. "You know how crazy everything gets when a new Saxel is born," <paraphrase> he tells her to excuse his tardiness (with an grudging "a"). Frankly, given his degree of romantic appeal, I'd have questioned paternity. Plot-wise, nobody is that stupid. But, Crazy Rae *still* leaves poor old Curt in the lurch to stand by her t**d. Now *that's* unbelievable. At least the Hayward character had the sense to get a job. In the 1961 version events were related pretty much as they happened...in this version, we are *finally* given an explanation of Rae's foolish devotion to Saxel (ah! now it all makes sense...well, no it doesn't) in so short a time that had I gotten up to yawn I'd have missed it. Saxel's lack of personality and superior attitude never was explained...chalk it up to a bad childhood in France. When the inevitable happened, I could only hope for lightning to hit the other end of the line. Well, I could go on but I won't. If ever a movie needed soaping, sudsing and completely dry cleaned it was this one and the 1961 Hayward/Gavin versions contained just the right brand of detergent. Put it on a hanger, slap it on the rack and tag it with a "00". I confess, in retaliation and outrage I voted the 1961 version a 10.