Simply A Masterpiece

I don't have all the words right now but this film is a work of art.

Great Film overall

An old-fashioned movie made with new-fashioned finesse.

Deanna Durbin and Robert Stack star in this cute romantic comedy, in which Deanna gets her first screen kiss. Upon graduation from a girls' school, she goes to live with her rich and uppity aunt and uncle (particularly the aunt) who have helped her out, since she has lost her parents some time ago. Right away we see their grown-up daughter Barbara is a selfish brat and her brother Walter is a lazy good-for-nothing' who does nothing but loaf about the place, sprawled out over chairs all throughout the film. Deanna is expected to show up, but it's very inconvenient for Barbara when there's no car or chauffeur to take her to a friend's party. As Deanna walks in, Aunt and Barbara leave. It becomes apparent to Deanna that there is no love or communication in this house - from being neglected by them to the fact that when they are there, the man of the house Eugene Palette is out and vice versa. Barbara is practically forced to let Deanna come along to a ball, but when the time comes for the ball, Barbara finds a way to get the better of her. By this time in the movie, you get the comparison of this to Cinderella. But Deanna has someone on her side. When Deanna met Robert Stack, he was Barbara's beau, but then things change. I love enchanting movies like this, from its inventive special effects to its romantic aura it contains. Similar in tone to this are Margaret Sullavan's "The Good Fairy" and Marlene Dietrich's "The Flame of New Orleans." I especially love the scenes when the mother and Barbara are told off. If you love old-fashioned films and Deanna Durbin's beautiful voice, this is one fairy tale not be missed.

"First Love" is a slight reworking of the Cinderella tale--updated to 1939 and starring Deanna Durbin. As a Deanna Durbin film, you can be sure there is a lot of her singing. While Miss Durbin had an incredibly powerful and operatic voice, it is not at all the style I like nor would it appeal to a lot of folks today--though it made her immensely popular back in the day.The film begins with the graduation of Connie (Durbin) from a girls school. Sadly, she has no family at the graduation--her parents are dead and her aunt, uncle and their family just doesn't want to be bothered. However, she is invited to come live with them. Once Connie arrives, she sees that her family is too self-absorbed to make her feel the least bit welcome. What's worse is that her vain cousin Barbara (Helen Parrish) feels threatened by Connie and does nothing but demean her. Fortunately, like Cinderella, Connie is so sweet that by the end of the film she gets her own happy ending. However, unlike Disney's Cinderella, Connie gets help from the nice servants that work for her aunt and uncle--not a bunch of cool animated mice! This is a highly enjoyable film from start to finish. It did, however, feature a lot of singing--during which time I usually fast-forwarded the DVD! The ending also was a tiny bit weak but still enjoyable. Overall, this is fun--at least as much fun as the animated version. Plus the use of a lot of wonderful supporting actors really helped as well as the film's nice sense of humor.

I'll take my Cinderella with Prokovief, but after watching First Love, a first-rate film with a quease-inducing title, I'll place this Deanna Durbin vehicle second. "You go up there to New York," says Miss Wiggins, a crotchety, spinster music teacher, to Connie Harding, who has just graduated from a fancy private school. "Make those people love you just as much as we do." Connie is an orphan, and Miss Wiggins is referring to her uncle and his family, wealthy New Yorkers who have paid all her bills but were just too busy to drive down for her graduation. They sent one of the family's limousines for her. "And then," Miss Wiggins says, "maybe, someday, you will meet a prince, and you'll live happily ever after." "Those fairy stories haven't come true for over 100 years, Miss Wiggins," Connie says. Miss Wiggins thumps the floor with her cane. "Fiddlesticks! We just have to dust them off...streamline them a bit." And this is what director Henry Koster, one of the best of Durbin's directors, has managed to do. He is aided immeasurably by a clever script ("This is terrible," says Barbara, Connie's awful cousin, "I can't be more than an hour and a half late to Wilma's party...she's one of my personal friends!") and solid, pungent performances by some very good character actors. The story's sweetness is genuine, based on the intrinsic sympathy for a young girl who manages to overcome obstacles with the help of others, and then finds happiness. Deanna Durbin at 18 is an intriguing combination of naturalness and skill. We like her the moment we see her, and her ability to win us over is enhanced when we meet the family. Her uncle (Eugene Palette) is a gruff man who seemingly only wants to keep far away from his wife and children, as well as away from Connie. When we meet the rest of the family, we sympathize with him. His wife (Leatrice Joy) is unpleasantly scatter-brained. His daughter (Helen Parish), a year older than Connie, is a snobbish, selfish, manipulating terror. His son (Lewis Howard) is so languid he make laziness seem tiring. There's a lavish ball, and Connie gets to go thanks to the intervention of the servants, led by that great butler-playing specialist, Charles Coleman. She meets a prince of a wealthy young man, Ted Drake (whom she met once before with mud on her face). When they waltz at the ball, all the other dancers fade away in a clever bit of instant love setting by Koster. Then Durbin receives her first screen kiss, from Robert Stack as Ted, as naturally as she acts. After the usual ups and downs for Cinderella, there's a happy ending which involves a matching slipper. Her uncle becomes the worm who turns, dealing brisk and satisfying retribution to his family, and even Miss Wiggins smiles. We are assured that Connie and Ted live happily ever after. Durbin sings two or three songs, including the hoary old tear-jerker "There's No Place Like Home." More impressively, she sings "Un Bel Di." Impressively, because not many 18-year- olds I've heard of would be able to handle the emotions Puccini lays on with such a trowel. The aria is a tear-jerker, too, but a great one. It takes a singer who knows what she's doing to handle the emotions (in Italian) as well as the notes. Durbin carries it off impressively with her usual uncanny poise. First Love, except for that title, is completely and satisfyingly charming.

"First Love" was a major transition for Universal star Deanna Durbin, as she was being positioned to shift from child star to engenue (something that Fox was inevitably unable to accomplish with Shirley Temple at the same time). While the film is not an overblown epic, it's lavish in the details, and carefully produced to give the whole piece a maximum of charm. To today's audiences, it might be a bit saccharine, but if you can dial down the cynicism of our age, the film's positive points grow.Durbin plays much more subtly in this film than she had in many of her earlier films--signalling that she was now "maturer" instead of being a juvenile whirlwind ball of energy like she had been in "Three Smart Girls" and "100 Men and a Girl." Her beau, played by an impossibly young (and almost scarily good looking) Robert Stack, gives Durbin her first screen kiss--a source of major publicity for the film at the time.The story is an updated Cinderella/screwball comedy, which nevertheless allows Durbin's character to break out into a few operatic arias throughout the film (this also takes some getting used to for modern audiences). The most memorable part of the film, suitably, happens during "the ball," where Durbin and Stack dance for the first time. Employing a charming idea, a shot of a crowded dance floor dissolves to a shot of just the duo dancing, to imply how the pair are so involved with each other that the rest of the world has faded away. If you like stuff like this, then you'll revel in the rest of the film.