Touches You

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

In truth, there is barely enough story here to make a film.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

This is the second of the thrice filmed Fanny Hurst novel about the other woman. Tastefully directed and lensed by Robert Stephenson and Charles Daniels and featuring standout performances from Charles Boyer and Margaret Sullavan it is probably the best of the bunch. Traveling salesman Walter Saxel and free spirit Ray Smith meet through an acquaintance and in the course of an evening become strongly attracted to each other. He is engaged but makes a decision to marry her on board a river boat. She unfortunately misses the boat and Saxel doesn't see her for another five years marrying in the meantime. They rekindle and she becomes his mistress. As he grows in fame and fortune she remains in the shadow for decades until his children confront her.Boyer and Sullavan as the long time lovers display a wonderful chemistry with each other. Sullavan's husky voice and Boyer's suave inflection reinforced by telling glances unite the two in an odd but perfect romantic match. Richard Carlson as a well intentioned suitor is also well cast and Frank McHugh, allowed to stretch, shines as Ray's loyal friend with an eternal crush.Director Stephenson does an excellent job of keeping mood subdued without resorting to hysterics to bring life to the story. His adults behaving like adults expressing and suppressing their feelings in a tempered but passionate way gives the film a graceful tension. Cinematographer Charles Daniels turns in his usual array of impeccably lit compositions such as an evening snowfall where Ray and Walter meet for the first time in five years and the powerful final moments that he along with Stephens jarring and effectively de-romanticizes with stunning portraiture that evokes Goya.

This film (based on a Fanny Hurst best seller) is way out of date in the modern age. No self-respecting woman would be so willing to sacrifice her career for the prospect of being a millionaire's kept woman. No man, seriously in love with any woman, would put them through such a demeaning situation (they would consider divorce first of all, then remarriage). But there was supposed to be a sense of self-sacrifice by the heroine (Margaret Sullivan) that transcended the entire story.It is the acting that saves this film. Sullivan gives another of her touching performances, like THE SHOP AROUND THE CORNER and SING NO SAD SONGS FOR ME. Charles Boyer is as charming as ever, here as a potentially important banker who is going to marry his boss's daughter. Instead, he meets Sullivan and is captivated by her spirit and seeming independence. She has a number of male admirers (Frank McHugh and Frank Jenks among them). She's also something of a tease, leading on the others about dating them. Boyer and Sullivan gradually fall in love, but he is resigned (for ambitions sake) to marry the boss's daughter. But he sends word to Sullivan that if she will go to the steamboat landing where he is waiting, he would marry her despite his career. She gets the message, and tries to get to the landing. But she chooses to use Jenks as her "taxi driver", and he (recalling her promise to go with him for a jaunt into the woods), takes her miles in the opposite direction. When he hears her imploring him to turn around, and realizes that she has been teasing him all along, he tells her to get out of the buggy and walk back by herself. So she misses the steamboat, and Boyer (thinking she stood him up) leaves to marry the boss's daughter.Years later, after having developed a career as a designer, she meets the married Boyer again, and he convinces her to give up her career and become his mistress. Subsequently, despite warnings from her friend McHugh, and her other boyfriend Richard Carlston, she does not give up her relationship. It lasts until the end of their lives.All the performers are good. Among the minor performances note Tim Holt as Boyer's son who first reads Sullivan the riot act, but subsequently ends up sympathizing with her. Good cast and production, but the story is as dated as a dodo.

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.

This is my favorite movie of all times. It makes me cry, laugh, and hope. Rae makes your heart break for her. I never stop hoping that the ending will change. I know thats silly but...hey its a movie! Every woman should see this film if she is considering having an affair with a married man! I love all the versions but this is the best one! The ending just floors me each time I watch it.