Now, Voyager (1942).

Now, Voyager (1942). A drama starring Bette Davis, Paul Henreid, and Claude Rains, and directed by Irving Rapper. The screenplay by Casey Robinson is based on the 1941 novel of the same name by Olive Higgins Prouty. Prouty borrowed her title from the Walt Whitman poem "The Untold Want," which reads in its entirety, "The untold want by life and land ne'er granted, Now, voyager, sail thou forth, to seek and find."

The very plain Charlotte Vale, lives in Boston with her domineering, wealthy mother. Believing, Charlotte is on the verge of a nervous breakdown, her sister-in-law Lisa brings psychiatrist Dr. Jaquith to examine her. Jaquith, is convinced that she is, very ill, and he recommends that she be admitted to his sanitarium, Cascade.

Away from her domineering mother, Charlotte recovers quickly, but not really wanting to return home, accepts Lisa's invitation to go on a long cruise. On board the ship, the now very stylish Charlotte is introduced to Jerry Durrance.

The two spend the day sight-seeing and the married Jerry asks Charlotte, to help him choose gifts for his two daughters. Touched when Jerry thanks her with a small bottle of perfume, she tells him about her family and her breakdown. She later learns from his friends, Deb and Frank McIntyre, that Jerry is unhappily married but will never leave his family.

After the ship docks in Rio de Janeiro, Jerry and Charlotte miss getting back on the boat and Charlotte stays with Jerry in Rio for five days before flying to Buenos Aires to rejoin her cruise.

Even though they have fallen in love, they promise not to see each other again. Back in Boston, Charlotte's family is shocked by her transformation. Her mother, is determined to regain control over her daughter.



Charlotte, receives a bouquet of camellias with no card... she knows the flowers are from Jerry because he had called her "Camille," and, reminded of his love, she is able to stand up to her mother.

Charlotte becomes engaged to the widower Elliot Livingston. One night, at a party, Charlotte runs into Jerry, who is now working as an architect. His youngest daughter Tina is now seeing Dr. Jaquith, for her emotional problems. Charlotte tells Jerry, not to feel guilty over their affair, because she gained strength from knowing that he loved her.

Charlotte, now realizes that she could never love Elliot and they break off their engagement, angering Mrs. Vale that during an argument with Charlotte, she has a heart attack and dies.

Feeling Guilty, Charlotte returns to Cascade, where she meets Tina. Seeing herself in the girl, Charlotte takes charge of her. When Tina's spirits improve, Charlotte takes her home to Boston.

Later, Jerry and Jaquith visit them and Jerry is very happy in the wonderful change in Tina. Charlotte tells him that she is only able to keep Tina with her on condition that she and Jerry end their affair. Jerry then asks if Charlotte is happy and she says.. "Well, Jerry, don't let's ask for the moon; we have the stars."

Fun Facts:

Edmund Goulding was first attached to the project as director. He wanted Irene Dunne to play Charlotte Vale. When Goulding fell ill, however, the project passed to Michael Curtiz, who had either Norma Shearer or Ginger Rogers in mind for the lead. In the meantime, Bette Davis was lobbying hard for the part. She was able to convince producer Hal B. Wallis that she would make a perfect Charlotte Vale, but she refused to work with Curtiz. Consequently Irving Rapper landed the director's job.

The biggest box office hit of Bette Davis's career.

Paul Henreid's act of lighting two cigarettes at once caught the public's imagination and he couldn't go anywhere without being accosted by women begging him to light cigarettes for them.

"Now Voyager" was actually the third book in a four-part saga of the Vales, a high-class Boston family, written by Olive Higgins Prouty over a 12-year period from 1936 to 1947. When Warner Brothers bought the film rights to the novel, Prouty wrote a lengthy letter to her literary agent, setting out how she felt the production should be mounted. She felt strongly that the best way to dramatize the flashbacks would be to feature short silent segments woven into the main sound narrative. Her letter made its way to producer Hal B. Wallis at Warners, who subsequently ignored her suggestions.

Claude Rains initially turned down the Jaquith role, finding it too insubstantial. The part was built up for him and he was paid $5000 a week for six weeks' work.

Filming went a few weeks over schedule, which in turn caused some conflicts with Casablanca, which also starred Claude Rains and Paul Henreid. Rains finished work on this movie June 3rd in 1942 and did his first scene on Casablanca at 10:30 the next morning.

All Bette Davis fans will love this film. She truly was an actress that knew how to pull on your heart strings. She had the power to transform herself into the many strong women she played. The transformation of the plain Charlotte to the stylish woman, is something that a lot of girls can relate to. The rest of the cast was excellent: Claude Rains, Gladys Cooper, Bonita Granville and Ilka Chase.

Ilka Chase (April 8, 1900 - February 15, 1978) was an actress and novelist, born in New York City and educated at convent and boarding schools in the United States, England, and France, she was the only child of Edna Woolman Chase, the editor in chief of Vogue magazine, and her first husband, Francis Dane Chase.

Chase made her society debut in 1923 and her Broadway debut a year later in, The Red Falcon. Her stage performances include: Days Without End, Forsaking All Others, While Parents Sleep, On to Fortune, Tampico, Co-Respondent Unknown, Revenge With Music, Keep Off the Grass and In Bed We Cry, which was an adaptation of her novel of the same name.

She was in the first Broadway cast in the play, The Women (1938) and later performed in the play, Barefoot in the Park.

Her films: Fast and Loose, Once a Sinner, The Animal Kingdom, The Big Knife, and Now, Voyager.

For several years, she was host of a radio program, Luncheon at the Waldorf. In 1957, she performed the role of the Stepmother in the television production of Rodgers and Hammerstein's Cinderella, which starred Julie Andrews.

Her last movie performance was in, Ocean's 11 (1960) as the mother of the Peter Lawford character. Chase made a rare television sitcom appearance as "Aunt Pauline" on The Patty Duke Show.

Alternate Best Actor 1937: Results

5. Claude Rains in They Won't Forget- Rains does his best and puts a great deal of effort in his performance, but his character unfortunately is paper thin.

4. Victor Moore in Make Way For Tomorrow- Moore gives a moving quiet performance of a man who witnesses society pass him by.

2 . Stan Laurel and Oliver Hardy in Way Out West- There is no reason to separate them as together they create the greatest comedy duo ever, and show well there unique talent together in this film. ( In the overall rank I merely put them in alphabetical order.)

1. Cary Grant in The Awful Truth- Grant gives an entertaining and enjoyable performance that is a terrific example of his abilities as the lead of a romantic comedy.

Overall Rank:

1. Robert Montgomery in Night Must Fall
2. Cary Grant in The Awful Truth
3. Oliver Hardy in Way Out West
4. Stan Laurel in Way Out West
5. Fredric March in A Star is Born
6. Ronald Colman in Lost Horizon
7. Victor Moore in Make Way For Tomorrow
8. Charles Boyer in Conquest
9. Paul Muni in The Life Emile Zola
10. Freddie Bartholomew in Captains Courageous  
11. Claude Rains in They Won't Forget
12. Paul Muni in the Good Earth
13. Roland Young in Topper
14. Cary Grant in Topper
15. Edward Norris in They Won't Forget
16. Spencer Tracy in Captains Courageous 
17. Jon Hall in The Hurricane

Next Year: 1974

Alternate Best Actor 1937: Claude Rains in They Won't Forget

Claude Rains did not receive an Oscar nomination for portraying Andy Griffin in They Won't Forget.

They Won't Forget is a sometimes effective although also very flawed film about a college professor from the North who is put on the trial for the murder of one of his students in the South.

Claude Rains portrays the district attorney who takes the case, and wants to make it big important conviction for himself to further his political career. Rains although in a way portrays the villain in that Griffin is always very concerned about his career rather than seeking justice. Although to be entirely fair to his character the evidence does not suggest that the professor was obviously innocent or obviously guilty. The sentiment that is created by the atmosphere within the town though makes it clear that innocent or guilty the professor will not really be given a fair trial.

Claude Rains as usual is efficient in the role as the attorney making it clear that Griffin will win the case, and meet his ambition no matter what. Rains at first shows Griffin more than anything is being professional as he handles various town people who want him to do certain things. Rains shows a constant assurance that no matter what Griffin will be doing things his way, even if it does meet someone else's end, it is all still is all part of his own ambition. Rains makes it obvious that Griffin is a powerful force that will see the man found guilty through his skill as an attorney.

A great deal of screen time comes in when he is handling the courtroom scenes. Rains again is effective here as he shows the statesman aspect of Griffin leaves as he purposefully becomes a firebrand to keep passions high to ensure conviction. Rains is energetic here as he portrays the fierce nature of Griffin as an attorney as he cuts to the throat every moment in court. Rains is strong here although I would say that he is never quite as amazing in this way as he was in similar moments in Mr. Smith Goes to Washington.

I have to say that Rains does his very best but unfortunately the film sort of lets his portrayal down. Rains really wants to make the character complex more than the film wants to. Rains tries his best to show Andy Griffin as a man with an ambition but not an evil man, the film pretty much does want him to be a one dimensional villain. Rains deserves credit though for trying to convey some sort of internal struggle at the end in Griffin over his actions, but the film frankly does not care as it suggest through the script that Griffin does not really care in the end.

Claude Rains really has to deal with a character that is less complex than he should be considering Rains takes every attempt to bring more to the character, but the film never allows him to go off on any of these complexities he tries to bring to life. Due to this problem Rains does not give a performance that is in line with his later greater work. Rains though still does try to make the most out of his performance, and gives an fairly effective performance even if it is not all that memorable of one.

They Won't Forget(1937).

They Won't Forget (1937). Directed by Mervyn LeRoy (who was uncredited). Based on a novel by Ward Greene called Death in The Deep South, which was a fictionalized account of a real life case: the trial and lynching of Leo Frank after the murder of Mary Phagan in 1913. The film was also the film debut of 16 year old actress Lana Turner, who played the murder victim, Mary Clay. It is considered by many critics to be one of the best films of the 1930s.

The story begins on Memorial Day, when Mary Clay and her best friend, Imogene Mayfield, decide to go for a soda after they are dismissed from their business classes for the day. Mary, decides to go back for her lipstick that she left in her desk. When she returns to the empty room, she is murdered.

District Attorney Andy Griffin, sees Mary's murder has a perfect opportunity to boost his political career by making a case against her teacher, Robert Hale. Before long, Michael Gleason a famous Northern attorney, comes to defend Hale, but he is unable to convince the jury of Hale's innocence despite the lack of evedence.

The news-media turns the story into a three ring circus and accuses Griffin of fighting the Civil War in the courtroom, but... he is successful and Hale is sentenced to death. Gleason appeals to the governor, who sacrifices his career and changes the penalty to life imprisonment. Will Hale be safely taken out of town, before he is lynched by Mary's brothers?



This is a fast/well written/acted moving film, with Claude Rain taken over scene he is in. This will make you wonder if justice was served. I think everyone will enjoy watching this 1937 treasure..

Gloria Dickson (August 13, 1917 - April 10, 1945), began acting during high school in amateur theatre productions. Encouraged by her acting coaches, she moonlighted doing dramatic readings at social clubs and on KFOX radio station in Long Beach, California.

In April 1936, she was spotted by Warner Brothers talent scout Max Arnow who signed her to a Warner contract. Her film debut in 1937's They Won't Forget landed her on the top of Hollywood's short list of important up and comers.

In autumn 1937, she was in many magazine covers and was the subject of several movie magazine articles.

Alternate Best Actor 1937

And the Nominees Were Not:

Oliver Hardy in Way Out West

Stan Laurel in Way Out West

Cary Grant in The Awful Truth

Claude Rains in They Won't Forget

Victor Moore in Make Way For Tomorrow

Best Supporting Actor 1944: Results

5. Monty Woolley in Since You Went Away- Woolley although limited by his screentime does gives a nice humorous performance as a stuffy man who becomes less stuffy.

4. Hume Cronyn in The Seventh Cross- Hume Cronyn has a fairly simple role as an average man trying to help his friend, but he makes the most of it. He gives a convincing performance effectively finding the quiet decency of his character.

3. Claude Rains in Mr. Skeffington- Although Rains has to contest with a wildly overacting co-star he does far more than hold his own as he creates a genuinely moving portrait as the titular character.

2. Clifton Webb in Laura- Webb is almost perfect throughout having the perfect superior demeanor throughout the film. He creates a memorable character and even though his final scene could have been even better this is still a strong performance.

1. Barry Fitzgerald in Going My Way- After almost winning the lead category for this year I find it very easy to give Fitzgerald his deserved win for the category he belongs. He gives a simply wonderful supporting performance that is a humorous warm performance that could not be better.

Deserving Performances:
Edward G. Robinson in Double Indemnity
William Bendix in Lifeboat
Peter Lorre in Arsenic and Old Lace

Best Supporting Actor 1944: Claude Rains in Mr. Skeffington

Claude Rains received his third Oscar nomination for portraying the titular Job Skeffington in Mr. Skeffington.

Mr. Skeffington details the loveless marriage between the vain Fanny Trellis (Bette Davis) and a wealthy Jewish stockbroker Mr. Skeffington.

Claude Rains received three of his four nominations for portraying antagonists of some sort. This is the only time he was nominated for a character who actually might be described as good. It is also the only time out of all his nominations that he could be argued as the leading man of the film. I do not mind his placement in the supporting category since he just about completely disappears for about the second half of the film, he is very much the leading man of the film for the first half. Although this is a very different performance for Rains in regards to his four nominated performances it is one of two of his nominations where he portrays a man married to a woman he loves whom does not love him back.

Rains is in a rather odd spot in this film as he acts opposite Bette Davis who plays Fanny who only marries Mr. Skeffington so she can support her embezzler brother. The reason he is in an odd spot is how over the top and outrageous Davis' performance is in this film. She doesn't have a subtle moment throughout her whole performance which is filled with some of the oddest gestures and Davis almost seeming to do an overdone imitation of herself. Although it would probably be easy to succumb to the temptation to try to outdo or match Davis' performance in terms of extravagant behavior like Richard Waring does as Fanny's brother Trippy Rains actually gives an understated and very much restrained performance to counter Davis' theatrics.

Although Rains certainly is most famous for his villain parts he also does know how to portray a descent man as well, as shown as Mr. Skeffington who is such a nice man that even when he faces an embezzler he still treats them with far more courtesy than they deserve. Rains manages to turn Job into a descent man effectively as he is just a gentleman in the best sense of the word. He is kind courteous and has a low key sort of charm that shows that Skeffington is an entirely descent and respectable man. Rains is the perfect sort of gentleman in the role never trying to stress this fact he merely is. Rains interestingly enough shows here, unlike his other three nominated performances, there really is not anything under the surface of Skeffington he is exactly who he says and claims to be.

The main aspect of Rains' work though comes down to the central relationship in the film between Job and Fanny. There is actually an interesting dynamic between the character's and the two actors as Rains is as subtle as Davis is over the top. I won't say it is a great dynamic though as Davis went too far frankly, an actor can over the top but they have to absolutely sure of their performance and Davis never is. Rains therefore absolutely holds every scene in his possession as he comes off as much more believable because of his far more natural performance. Rains is actually quite moving as Job as he marries Fanny in the belief that he can eventually earn her love. Rains makes it clear that Job is not stupid he shows that he absolutely see Fanny as the gold digger she is, but he also shows that there is a desperation in Job to try to change Fanny.

Much of the early half of the film is dealing with Fanny's many suitors and Job trying to get her to genuinely love him. Rains is convincing in his quite way he shows Job's methods to try to bring out the love he desires out of Fanny. He is gentle in his performance showing that Job only wishes to tell her that he is good for her, and that he does love her, and only wants the same love in return. Rains is actually quite moving as he faces the utter amorality of his wife as he finally faces her down over her cruelty toward him. Although really he could have overacted Rains instead still stays quiet as Job intensely questions Fanny's behavior toward him. The film does not give him enough time and gives him an excessively melodramatic conclusion scene but Rains does manage to realize some of the heartbreak his character faces over his troubled relationship with his wife. This is a good performance by Rains that even manages to haunt the film even after he disappears for a great deal of time by his earlier presence. I wish Davis' performance matched his more thoroughly and the writing of the film was less over the top at times, but as it is Rains still gives a moving portrait of a tragic character. 

Best Supporting Actor 1944

And the Nominees Were:

Claude Rains in Mr. Skeffington

Clifton Webb in Laura

Barry Fitzgerald in Going My Way

Monty Woolley in Since You Went Away

Hume Cronyn in The Seventh Cross 

Best Supporting Actor 1946: Results

5. William Demarest in The Jolson Story- Demarest has a simple role as a supportive mentor, he is properly supportive but little is asked of him.

4. Clifton Webb in The Razor's Edge- Webb has a simple role as a pompous snob, which is portrays with proper snobbishness but again like Demarest little is asked of him.

3. Charles Coburn in The Green Years- Coburn's gives an entertaining and warm performance. He realizes his particular character quite well that only succeeds in adding to his film.

2. Harold Russell in The Best Years of Our Lives- Harold Russell gives a terrific heartbreaking performance that never fails to be moving.

1. Claude Rains in Notorious- Good prediction RatedRStar. The top two of this year are both absolutely terrific heartbreaking performances. What I find amazing about Rains though is that his character never had to be heartbreaking to begin with since he portrays a villain. Rains is astounding in his ability to give both a chilling villainous performance as well as give a sympathetic portrait and turns his character into almost a tragic man.

Deserving Performances:
Henry Travers in It's a Wonderful Life
Lionel Barrymore in It's a Wonderful Life

Best Supporting Actor 1946: Claude Rains in Notorious

Claude Rains received his fourth and final Oscar nomination for portraying Alexander Sebastian in Notorious.

Notorious is a thriller about the daughter of a Nazi spy Alicia Huberman (Ingrid Bergman) who in an attempt to prove her loyalty to America agrees to infiltration her father's organization, even though she is torn through her duty and her love for her spy liaison Devlin (Cary Grant).

Claude Rains lost every time he was nominated but I have the feeling that he probably received the second most votes every time except for perhaps 1944. Although he lost each other time to another well liked character actor this time he lost to the non actor Harold Russell, who most certainly had other factors in his favor to win. Rains though lost once again in a role that shares similarities with his other two performances I have nominated so far which is that he portrays sort of a villain, but a not at all standard villain who has a lot more to them than one would really expect.

Here he portrays Alexander Sebastian who is an important part of a secret Nazi group, that Bergman's character infiltrates through Sebastian's infatuation with her. What is fascinating about this performance by Rains is the fact that he never for a moment portrays Sebastian as any sort of standard villain who is just simply evil. He instead always presents Sebastian as a man first and a villain second. His business with the Nazis never seems to be the most pressing factor Rains suggests in the way he performs each of his scenes.

One of the best parts of his performance is his chemistry with Bergman in the film. With the part of Sebastian's romance with Alicia it would have been easy for Sebastian to come off as only a fool, or just a man who simply lusts after her. What makes Rains take on this so special though is the idea that he conveys a genuine love in these scenes. Rains never makes it out to be anything less. Rains makes it almost a tragic portrait of a man who is seeking for something that is not there.

What I love about his scenes with Bergman, is that Rains almost shows that Alexander is almost ready to be let down at any moment. In every scene where he sees Alicia with Devlin, Rains is terrific because he does not show any sort of angry or jealous outburst. Rains though subtly shows a fairly sensitive man who honestly does not want to be wounded, and even suggests that he may have been before in the way he quietly pressures her to admit she does not love him, almost as to say that Alexander could never truly believe someone like her could possibly love someone like him.

It is almost surprising how sympathetic Rains manages to make Alexander without ever going to far and making him not longer a villain. Rains honestly makes you sorry for Alexander when he finally does find out about the truth of why Alicia married him. Rains is actually quite moving in that he shows Alexander feels genuinely betrayed on a deeply emotional level. Rains never shows him as simply angry over her betrayal but as actually hurt by her betrayal and false affection when all his affections where truthful.

I suppose I should note as well how Rains acts as a villain, even though I feel I almost do not need to as he makes Alexander such a layered man to begin something that usually does not go hand in hand with a villain. As a villain though Rains again is brilliant in his refusal to ever portray Alexander as any sort of simple evil doer. There are several shades to his characterization from how he appears outwardly as well to the way he appears in more confined quarters.

Outwardly even Rains never takes one approach and still only shows complexity within his characterization. Alexander never lets on to the evil he really is able to do, but rather Rains makes him quietly imposing. There is never visible malice in face, but rather a more businessman sort approach to the proceedings. He is especially chilling in a single scene where he and his Nazi cohorts decide a man must die for a slight mistake. Rains and the others show such a casual approach to their decision that it is absolutely chilling.

Also Rains portrays Alexander quite intelligently throughout. Although he is indeed being tricked the for most of the film, Rains still makes Alexander an astute adversary. I particularly love his single scene where he figures out the betrayal of his wife. The scene is just about silent but Rains is brilliant in his reactions as Alexander breaks down the plot against him clearly in his mind.

In his more enclosed scenes with his mother Rains though shows a very different side to Alexander as a villain. There again is always a man there first, and his actions to deal with his wife's betrayal are made not out to be a vile decision but an unavoidable act of self defense. It seems almost impossible to make a scene where you might have sympathy for a man who is intent on killing his wife, but Rains makes Alexander's fear for his own life such a reality that he almost makes Alexander's actions seem understandable.

This is just an outstanding turn the whole way through for Rains, and for me turned Alexander oddly enough in the character I became most interested in. This is all despite the fact that Alexander could have been one dimensional and a simple evil figure. Rains though creates a compelling portrait of a man, that I must say I was surprised how much I felt sorry for him, particularly in his final scene where Alexander can do nothing but accept his fate. This is a perfect supporting performance, that just may be Rains' best work.

Best Supporting Actor 1946

And the Nominees Were:

Claude Rains in Notorious

Charles Coburn in The Green Years

Harold Russell in The Best Years of Our Lives

Clifton Webb in The Razor's Edge

William Demarest in The Jolson Story