One of the toughest decisions prospective mother's in bad predicaments have to make is whether or not to keep their child. Sally Wyndham (Ann Harding) found herself having to make that choice. She was pregnant and jobless, AND she hadn't married the father of her child before he died in a fiery plane crash. That left her with few options. I thought she would marry the first nice guy she met; that has happened in a few movies. She decided to give her baby boy up for adoption rather than face the wrath of her family or try to raise the child alone with little resources.
Unlike many women in 1930's cinema who were tortured by having to make a decision between two men, Sally was legitimately tortured by having to make the decision of giving up her child. To help her make the decision was a disgraced doctor named Dan Pritchard (Clive Brook). He gave the distinct impression that he'd assisted in the suicide of a terminally ill patient, hence his license was taken away and he was thrown in prison. He wasn't a bad person, he just had a difference of opinion with the medical and state laws.
If Sally wasn't tortured enough already, she'd be tortured again when she happened to encounter her son Deedy (Dickie Moore) while she was on holiday in France. She wanted back into his life, but how would that be fair to her, fair to him, or fair to his adopted father Phillip Lawrence (Otto Kruger) (the adopted mother passed away)?
I thought the movie was pretty good. It was a bit different and it presented a real quandary. I was surprised to see Gilbert Emery as a co-writer for this film. I'm so used to seeing him on screen, I didn't know he had some behind the camera credits as well.
I can't end this review without mentioning one particularly galling character: Count Mario Carniri (Tullio Carminati).
He saw Sally while she was visiting Italy. He began to serenade her and pursue her heavily. She kindly rebuffed his advances while he audibly made wedding arrangements for the two of them. He followed her to France and even back to the U. S., trying so desperately to win her over. He never succeeded, and Sally never got stern with him which, apparently, was the only way to make a man understand that no means no.
His unrequited pursuit was annoying, yes, but worse than that was his eventual annoyance with Sally. At one point he criticized the fact that all she did was work and didn't play. His attitude had me dumbfounded and upset. This guy had been a constant bugaboo and took it upon himself to follow Sally to another country, so for him to act like a petulant child because she wasn't giving him attention only showed how entitled he was.
It was really telling that he had such an attitude with her. Here it is, he chased her around the globe and she's done nothing but give him the air, yet he felt some kind of ownership. It's almost as if he believed that he was owed some sort of affection for the work he'd put in.
He'd been a nice guy.
He serenaded her.
He pursued her.
He poured out his heart to her.
Wasn't he owed something?
It was a weird dynamic back then, and I've seen it in a few movies. Any nice man who kept up a pursuit deserved the woman he was pursuing, and sometimes it didn't matter if she was already in a relationship. If she giggled, smiled, or humored him in some way--even while rejecting him--it was encouragement for him to continue his pursuit. If she didn't outright shut him down with a stern and resounding rejection, it was a signal that he just needed to be (more) persistent.
As a result, Count Mario was all the way in America being a sourpuss because Sally hadn't given in to him yet.
Strange times.
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