The Other Love

Moviecut—Erich Maria Remarque's The Other Love

The second picture from the ill-fated Enterprise Productions; from a story by Erich Maria Remarque. Barbara Stanwyck could make the telephone book moving, and despite so obviously not being a natural victim succumbs beautifully - aided by a score by Miklos Rosza - as a concert pianist with a killer wardrobe to one of those diseases that afflict 'A' list female stars which makes her the centre of attention while fate throws her way dashing doctor David Niven, dashing racing driver Richard Conte and priapic casino croupier Gilbert Roland against the backdrop of a sublimely artificial-looking Alpine sanatorium followed by an equally unreal Monte Carlo; while all the while the silly woman continues smoking. (Stanwyck trained hard enough to be able to tickle the ivories convincingly enough for the film's opening shot, but most of the shots playing the piano thereafter are of the dainty little hands of a teenaged Andre Previn.)

David Niven and Barbara Stanwyck were both actors of quality, but they share absolutely no chemistry together in this sudsy melodrama about a concert pianist with TB. The rugged Richard Conte, a racing driver with a taste for the high life, is a much better fit for Stanwyck's screen presence, but isn't really given enough time to make his mark. Naturally, Stanwyck looks gorgeous throughout, despite her life-threatening illness...

One of the 10 commandments of modern ethics for medical doctors is they must not become involved with their patients--taking advantage of their superior position to fan the flames of romance in the patient. Stanwyck could have won a big lawsuit in today's feminist world. That romantic angle out of it, this movie takes a lot of material from Magic Mountain by Thomas Mann. From the importance of the thermometers to the patients disappearing at night (dead down the service elevator). As some other reviewer stated Stanwyck can turn any role into something watchable....this silly movie taxed her talents to the limit. Is she going to die??? I am not sure that was a given as others stated... but after all the silly iconic fluff of Monte Carlo and race car drivers you really don't care. Not a memorable performance. It gets a 5

This film transitions beautifully from the romantic 1930's film to the modern romantic genre. The setting is wonderful and the car that Clermont cracks up when Stanwyck and Conte meet on an Alpine road seems to me to be a Maserati 8C; a car that today would likely fetch a million dollars. Unfortunately, there is little else in the way of vintage autos to whet the appetite of a car enthusiast. The glamorous places where the scenes take place are enchanting, which does wonders to develop the "feeling" of the plot. All in all, a noteworthy romantic "sleeper" of a film with a beautiful musical score and poignant dialog that has escaped the attention of vintage film critics.

Famed concert pianist Karen Duncan (Barbara Stanwyck) is recuperating in a Swiss sanatorium from a respiratory illness under the supervision of loving Dr. Tony Stanton (David Niven). She befriends fellow patient Celestine Miller (Joan Lorring). Playboy Paul Clermont (Richard Conte) crashes his race car barely avoiding Karen on the road. Her illness is more serious than she suspects. She is shocked by Celestine's unexpected death. Stanton tells her that she must rest but she ignores his advise and runs off to live her life with Clermont. It's a bit slow. With Stanwyck, it holds out a possibility of something more. I was hoping for a good twist or something different. In the end, it doesn't really give more than a straight downward slide into a romantic melodrama.

You can't hit the target every time (unless your name is Annie Oakley - - and even she missed six or seven times in her career) and this film certainly maintains audience interest at very high level for at least two-thirds of its length. The ominous atmosphere of the sanatorium is most skilfully evoked by Milner's soft, shadowy photography, plus the aseptic sets and above and beyond all, the brooding music score reworked from "Spellbound". All the acting is absolutely first-class, thanks to the skill and flair of Andre De Toth's direction. I should mention, however, that, despite his prominent position in the official cast list, Gilbert Roland's part is extremely small. This didn't worry me -- I can take him or leave him -- but if you're a Gilbert Roland fan, you're going to be very disappointed.

This is the one about the charismatic female patient falling for her doctor and vice versa - a Light Victory if you will - and for reasons best known to themselves the producers are coy about identifying Stanwyck's complaint as tuberculosis despite her being treated in a Swiss clinic high in the mountains and passing patients in beds outdoors. Barbara Stanwyck and David Niven are fine actors and may easily be mentioned in the same breath as Bette Davis and George Brent but alas, they lack chemistry and neither is this supplied by Richard Conte, the third angle of the eternal triangle. As always Edith Head gives great costume so that Stanwyck is always something of a fashion plate but it's more watchable for its rarity and curio value than anything else.

Barbara Stanwyck stars as Karen, a famous concert pianist, who is sent to a picturesque Swiss sanitarium for a lengthy stay. She's suffering from TB and the prognosis isn't good, but her doctor (David Niven) takes a special interest in her case. Karen tires of endless bed rest, however, and falls for a smooth-talking race car driver (Richard Conte). This is a wonderful movie, very much a product of its time. Glamour is everything, as the sanitarium guests dine in gowns and tuxedos while taking long, smoldering drags on their cigarettes. Stanwyck's wardrobe was designed by Edith Head and she looks gorgeous. Niven is a dreamy doctor while Conte is a bit off-putting as the driver on the make. It's all very pretty and Stanwyck only coughs when the music swells, very Camille-like. It's obvious that they completely changed the ending, but that's a minor quibble with such a sumptuous, romantic story as this. Recommended if you like movies the way they used to be.