First Love (1939) User Reviews

one big swoon

[mik-19 · 7/10 · 10 September 2004]

This 1939 take on 'Cinderella' works like a charm, and I honestly would never have guessed as much. I found myself being continuously bewitched by it, its sincerely touching and funny script and dialogue, the wealth of small character parts from the laconic spinster teacher ("Old maids are only happy when they cry, you'll find out") and the personable servants to the zany rich family that Durbin's orphan girl has to stand up to.

And of course, over and above everything else, there is Deanna Durbin, a full-fledged young leading lady with a miraculous voice and loads of screen presence and pathos (listen to her sing 'Un bel dì' from 'Madame Butterfly' at the end!). Blonde hunk Robert Stack has his first part ever as the Prince Charming who is left with the empty slipper, but only after a gorgeous series of incredibly romantic encounters.

A sweet-natured re-telling of the Cinderella story, and a charming vehicle for 18-year-old Deanna Durbin

[Terrell-4 · 8/10 · 27 January 2008]

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.

The Belle Of The Ball

[bkoganbing · 7/10 · 23 October 2011]

Young Deanna Durbin goes to live with her uncle Eugene Palette and a group of snooty society cousins in this film. They treat her like a country cousin and snub her generally including her aunt by marriage. But little do they know that Deanna is destined to find her First Love in this story reworked from the Cinderella fairy tale.

After three years Deanna was growing up on screen and the folks at Universal Pictures decided she ought to have her first screen kiss. The one tapped for the honor was a guy making his screen debut Robert Stack.

The one who really treats her rotten is her débutante cousin Helen Parrish and her equally snobby friend June Storey. Deanna is not treated any better than one of the staff at her house, like Cinderella she might as well be relegated to being a chimney sweep.

Stack is the guy that Parrish and Storey have set their caps for, he's another society kid. But he likes simple and unaffected Deanna who ironically Parrish sets up the meeting between them. That's a rather funny scene.

Some good songs for Durbin highlighted the classic There's No Place Like Home, Amapola, and Un Bel Di from Madame Butterfly. And of course one of the most publicized kisses ever in screen history.

First Love brought home Oscar nominations for Sound, Art&Set Decoration, and Musical Scoring for Universal Pictures. Little Miss Fix-It was definitely growing up and her future roles would show a maturing Durbin for the movie-going public. It still is fine entertainment.

Sweet little musical, great for Durbin fans

[SGriffin-6 · 12 October 2000]

"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.

While not a great film, it was highly enjoyable.

[planktonrules · 7/10 · 2 February 2014]

"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.

Cinderalla of 39

[sb-47-608737 · 7/10 · 7 August 2018]

Two very young actors make up this cinderella story, Robert Stack (just 20) is the hero and Deanna at 18 still has quite a bit of puppy fat on her face (I didn't like the hair style - was it to make her seem older? ). She, an Orphan like Cinderella lands up in - not step mother here, but rich maternal uncle's home. Here of course there was one cousin, of the step-sister type the other cousin of opposite gender, the aunt and even the uncle are really not villainish by nature, but villain by the lack of empathy, not only towards our Cinderella, but towards the whole world.

There are of course nice songs too, has to be when Deanna is there. The movie is well made, and very watch-able, and of course the end is predictable in any fairy tale. Along with Deanna there are two more lovely girls, Helen Parish (the Cousin), a quite frequent co-actor of Deanna, and June Storey, another Canadian, both trying to win the Prince Charming.

There are two interesting things here, one puzzled me, till I understood what it was and other one, the main song, wasn't properly visualised.

If there is a call to sing a Strauss' waltz, even if you specify it is the Junior's, unless you know which one it is, no one can sing it. More so, it had been told to have a bit of modifications, some bars were changed, probably to cater to her voice-spectrum by the singer, Mme Cottellini, who was supposed to sing it, mentioned. Even more problem in it was, that even had she caught the opening, she still would have been in for a trouble, since it was a mix of three of Strauss' Waltzs, Schatz-Walzer, the beautiful Rosen aus dem Süden(the main body) and lagunen Walzer (finale) : unless one knows that, it would be impossible.

The interesting and wonder-ful (not necessary wonderful) portion was, after this waltz, when Deanna was dancing with Stack, I observed there was something in her left hand, what was it I wondered.... and then it struck me. That was the cloak-ticket. And she had retained it, held between the forefinger and middle finger of her hand, till she exchanged it for cloak. In fact she had been playing with it, even during the 'spring waltz'. This was unexpected that one would go for that much precision. I wonder who thought about it, Koster or Deanna ? I am sure the viewers won't have noticed it, or even wondered if it wasn't there (you could have some pocket or fold in the dress to keep it).

Modern musical Cinderella with Deanna Durbin singing

[SimonJack · 7/10 · 31 August 2022]

"First Love" is a delightful 20th century Cinderella story, with good songs by Deanna Durbin and some light comedy. The film was nominated for three Academy Awards. Since most people know the Cinderella plot, a lot more need not be said. Except that a very good supporting cast does justice to a good screenplay in this modern adaptation of the story.

Durbin is Constance Harding in the Cinderella role. The prince role is Ted Drake, played by Robert Stack. There isn't a fairy godmother, a pumpkin or adaptable mice. But this Cinderella has relatives with a house and servants who take to her. And, a somewhat beleaguered and withdrawn Uncle James Clinton (played by Eugene Pallette), who eventually comes to life thanks to Constance.

When she is rejected by her cousins, Constance returns to the orphanage where she was raised. She had known family there, among all the other girls, the teachers and the director, Miss Wiggins (played by Kathleen Howard). She says she will stay there and become a teacher also. But she gets some sage counseling from Miss Wiggins.

Miss Wiggins, "Do you like cats?" Constance Harding, "No, not much." Miss Wiggins, "Huh! You'll get to love them. They've got sense. They're like men. Feed them, pet them, and admire them, and they'll purr. Every woman wants to make somebody purr. You want to lock yourself up in a world of women."

Constance notices the ladies of the faculty with tears on their faces listening to her sing a beautiful aria. She later asks Miss Wiggins about it. Wiggins says, "Old maids ore only happy when they cry. You'll find that out."

But, just as in the fairy tale, the prince charming in this film finds his Cinderella. And Ted Drake sees to it that Constance won't be among the spinster faculty at the orphanage. It's an entertaining film that the whole family should enjoy.

Universal's golden goose becomes a golden swan

[itsmits · 9/10 · 31 December 2006]

If you are fortunate enough to be blessed with a golden goose, you take very good care of it. The lovely singing sensation from Winnipeg was leaving her adolescent years behind and developing into an extremely attractive young woman when Universal dared to expose her to 'her first screen kiss'. The story didn't have to have great lines; just a happy ending. "Cinderella" updated was deemed sufficiently safe.

Hollywood discovered that in the middle of the Depression, movie fans loved to escape into the swank life of millionaires with large mansions requiring equally large servant staffs. Thus, our Cinderella had only to endure the acid tongue of Helen Parrish who seemed to make a small career of being mean to Deanna Durbin a la Jane Withers and Shirley Temple. With only one evil stepsister (first cousin in this instance)with whom to contend, our heroine had two good fairies. One was the finishing school principal, Kathleen Howard, and the other was the butler played ably by Charles Coleman. Other recognizable supporting cast members included Mary Treen, Frank Jenks, Eugene Palette and Thurston Hall.

There are four numbers which Miss Durbin sings in "First Love".

"Home, Sweet Home" is sung by the graduating heroine at the request of her classmates.

"Amapola" is sung at the occasion of her first encounter with the servant staff at Uncle Jim's mansion.

The piece de resistance which captures Prince Charming's attention at the ball is s Strauss medley strung together seamlessly into what sounds like a single song but consists of brief melodies from "The Gypsy Baron"(Schatz waltz); "Roses From the South"; a third melody unidentifiable at this writing; and an orchestral finish with "Voices of Spring". Lyrics were provided by Ralph Freed and musical direction by Charles Previn who conducted many of Deanna Durbin's recordings for Decca.

The final piece is 'One Fine Day' from Madame Butterfly which has been done by other sopranos such as Grace Moore and Rise Stevens but not with the intent and purpose of a good fairy to win the hearts of a panel of judges nor more surprisingly, with a happy ending which Puccini certainly never intended.

If you want realism, then this would certainly not be your cup of tea but if you are even considering a Deanna Durbin movie, then you are probably not in that group. If you want to learn more about this amazing screen star who rivaled Shirley Temple and Judy Garland as an international box office draw, this is the movie you should see as she gave up her perky adolescent ways from her first five movies and moved into the ranks of an adult star. If you have the opportunity to see this film, don't miss it but hold onto your heart!

Little Miss Fix-It Is Growing Up

[boblipton · 7/10 · 30 March 2024]

Deanna Durbin is the poor cousin of a rich family. She attends Kathleen Howard's girl's school with cousin Helen Parish, and gets invited to their New York mansion for Christmas break. Even though uncle Eugene Pallette seems nice enough -- what little is seen of him -- the rest of the family is a bunch of weirdos and nasties. She wants to go to the ball, but has to wear cast-off clothes. But the mansion's staff, who adore her for singing for them, club together and rent an expensive outfit. When Miss Parish orders her not to go to the ball....

Miss Durbin was Universal's biggest star, but how were they to deal with the fact that she was now 17 and could no longer be Little Miss Fix-It? Her production team, consisting of Henry Koster and Joe Pasternak decided to write her a Cinderella story, with newly-hired Robert Stack as Prince Charming. Of course there are musical interludes, an old-fashioned ballad or two, and a selection of opera arias. The writing team kept everything familiar, including borrowing liberally from My Man Godfrey to make sure that Miss Durbin's fans wouldn't be too outraged.

After the Ball is Over

[lugonian · 9/10 · 23 May 2009]

FIRST LOVE (Universal, 1939), directed by Henry Koster, stars Deanna Durbin in one of her ever popular movie roles. Basically a retelling of the old "Cinderella" story set in contemporary New York City, the youthful Durbin, making her sixth screen appearance, and Robert Stack, in movie debut, are supported by fine movie veterans, namely gravel voice Eugene Palette, Leatrice Joy (former lead actress of the silent screen), and Kathleen Howard in a small but important role as the crusty but wise old-maid school teacher with a heart of gold. Aside from her previous works opposite W.C. Fields in three classic comedies of the mid 1930s, this is one of the few times where Howard's talent as a true character actress is fully realized. And now back to Durbin's FIRST LOVE.

The plot begins at a high school graduation with the gathering of classmates receiving their diplomas, one being Constance "Connie" Harding (Deanna Durbin). With her parents dead and no relative in attendance, Connie is invited to spend the summer with her closest friend, Marcia (Marcia Mae Jones), but in good faith for all the financial support awarded her, she decides to stay with her uncle, James F. Clinton (Eugene Palette), a business tycoon, and his family. Afraid to face the challenge that awaits her, it is Miss Wiggens (Kathleen Howard), her former teacher, who encourages to move on, bringing hope and happiness to those around her. Although Connie does win over her uncle's servants, she's made to feel like an outsider by his wife, Grace (Leatrice Joy), spending much time studying astrology; Walter (Lewis Howard), their lazy son who'd rather be served than working; and Barbara (Helen Parrish), the stuck-up daughter who delights in giving orders and not taking them. Very much interested in high society's Ted Drake (Robert Stack), Barbara makes every effort keeping Connie away from him. Though invited to attend the ball with her mother and brother, and hope of meeting Ted again, Barbara purposely arranges for Connie to remain at home to entertain a visiting uncle from Washington during their absence. Feeling pity towards the disappointed Connie, the servants arrange having the family chauffeur (Jack Mulhall) purposely detain the Clintons by getting arrested while giving the opportunity for Connie to attend with the understanding she'd have to leave by midnight. After a grand evening with Ted, Connie, nearly forgetting the time, makes a hasty departure the very moment the Clintons arrive, leaving behind her one slipper found by Ted. When Barbara finds that Connie did attend the ball, their confrontation forces Connie to leave, causing Clinton, who cares for Connie, to become deeply ashamed for what his family has done.

In traditional thirties films depicting rich families, the Clintons in FIRST LOVE could very well be that of the Bullocks from the 1936 Universal comedy, MY MAN GODFREY, starring William Powell and Carole Lombard, each casting Eugene Palette as the millionaire with family he would rather forget. Instead of casting Alice Brady as the scatterbrained wife, Leatrice Joy is given the assignment, as did Lewis Howard's good-for-nothing son over Mischa Auer's freeloading protégé. There's no butler named Godfrey this time around, but good natured servants enacted by lesser known actors as Mary Treen (Agnes, the maid); Dorothy Vaughn (Ollie, the maid); Lucille Ward (The Cook); and Charles Coleman (George, the Butler). Other familiar faces as Frank Jenks (a Policeman and friend of the family servants); Samuel S. Hinds, Thurston Hall and Doris Lloyd fill in the void in lesser roles while Durbin highlights with her grand singing of "There's No Place Like Home," "Amapola." "Spring in My Heart" (by Johann Strauss) and "Un Bel Di" (One Fine Day) from Giacomo Puccini's "Madame Butterfly." Regardless of its title and Durbin's then publicized first screen kiss, FIRST LOVE is far from being trite formula. In fact, it's one of her and the studio's top productions of the year. Not having to resort to storybook fashion of "Cinderella," FIRST LOVE simply modernizes an old fairy tale, resulting to something quite original thanks to the fine screenplay, and natural, low-key performances by Durbin and Palette. Palette's great moment comes when he finally lets out steam telling off his selfish family, while Durbin adds humor during the ball by unwittingly stepping onto the platform in the place originally intended for another guest singer (Grace Hayle). There's also a touch of creativity in movie making in the ballroom sequence where all the guests virtually disappear in Connie's mind (and viewers) while dancing and conversing with Ted, and reappearing the very moment Connie returns to reality.

In spite of Durbin and her movies being the box office attractions at the time, presently appears to be of minor importance. Due to lack of television broadcasts since the 1980s, the time when FIRST LOVE had some exposure on public television, along with home video distribution in 1996, the Durbin products appear to be less popular due to its sugar sweet reputation. Having Durbin movies on DVD packages labeled "The Sweetheart Package" doesn't help matters either, yet looking back at these particular films whenever possible shows the entertaining values and certain star quality that has delighted audiences in an era so different from what's presented today. (***1/2)

Heart Warmer

[mkawagoye · 10/10 · 27 June 2010]

Reviewers before me have ably stated the performers and crew who have contributed to this timeless presentation of the Cinderella story.

I join with a previous enthusiast who identifies the Strauss medley sung by Miss Durbin at the Royal Ball as being singularly excellent. The third melody which was unidentifiable at that time turns out to be a waltz from Strauss' little known operetta "A Night in Venice". Thus we have: 'Life is sweet and gay. . .' the Schatz waltz from the "Gypsy Baron"; 'This is Maytime. . . .' from the "Southern Roses"; and finally, 'Spring in my heart.. . .' from " A Night in Venice". It is the 'Gondellied' or Venetian Boat Song from that operetta. And yes, the accompaniment flourish at the end includes a few bars of the '1001 Nights' from the "Gypsy Baron" before finishing with 'Voices of Spring'. The medley has been seamlessly sewn together by Hans J. Salter, and Ralph Freed supplied the lyrics. A joy to listen to.

The success of the movie is first and foremost the performance of Deanna Durbin, of course, but turning her rendition of "One Fine Day" into a happy ending is to be recognized as an achievement by the producers and writers. All in all, a movie for everyone.

Charming spin on the 'Cinderella' tale...

[Doylenf · 30 June 2004]

A maturing DEANNA DURBIN and a strikingly handsome young ROBERT STACK are the enjoyable romantic leads in this Cinderella tale that spins along with a few Durbin songs tossed in for good measure.

Deanna plays the orphaned cousin of a rich and snobbish family that tries to get her to stay home from a lavish ball. With the help of servants (instead of mice), Deanna gets to attend the ball, delivers an outstanding solo, meets the handsome "prince" (Stack) and has to fend off the insults of her snobbish cousin (Helen Parrish).

The slight plot moves effortlessly toward a happy ending. Durbin fans should love this one--it's easy to take and easy to love. Eugene Pallette gives a fine comic performance as her gruff uncle and the rest of the cast does a professional job under Henry Koster's direction.

Cinderella Deanna!!!

[kidboots · 10/10 · 8 March 2012]

This has to be my very favourite Deanna movie. One or two critics at the time sneered that "First Love" was a return to the Cinderella story but had she ever really left that formula!!! It was a revamped "Cinderella" story complete with the slipper left at the ball as the clock strikes 12 and having all the horrible, ugly stepsisters rolled into one supremely nasty cousin, Barbara, played by Helen Parrish who that same year had played one of Deanna's sisters in "Three Smart Girls Grow Up". Poor Helen having to be nasty to Deanna, no wonder her career didn't recover.

Like all the best Durbins it was directed by Henry Koster, a film maker of charm and taste and as Deanna's first adult vehicle (much publicity was given to her first screen kiss by Robert Stack) it was a smooth transition away from her "little Miss Fixit" roles, probably because she had grown into such a beautiful young lady. The movie also borrowed from "My Man Godfrey" by dropping Deanna into the midst of a family of rich eccentrics complete with a very selfish daughter who makes Connie's (Durbin) life miserable and with Eugene Palette reprising his role as the exasperated father. A lot of Deanna's popularity with the depression era public was her warm rapport with the working class and the hired help and this movie was no exception.

Most popular student at the young ladies academy, Connie Harding breaks down during a rendition of "Home, Sweet Home" knowing that as an orphan she doesn't have a home of her own. Crotchety old principal (with a heart of gold of course) (Kathleen Howard) urges her to go to New York and make it her own. She arrives at her uncle's doorstep feeling very small but after her soaring vocals of the beautiful "Amapola" immediately has all the staff entranced and ready to help her in every way. Her Uncle Jim (Pallette) is flabbergasted - "You like being here, you've met your aunt and your cousins and you actually like being here"!!!

Following the Cinderella story, Connie is beside herself with excitement at her first ball but nasty Barbara thinks Connie is just too excited and also that Connie's dress is a bit too beautiful and doesn't believe it when Connie innocently says that the cook just fixed up her graduation dress (that's what the staff told her - in reality they all chipped in to buy her a beautiful lacy gown). At the last minute Connie is told she can't go - but in the best Cinderella tradition and with the help of her fairy godmother, I mean the butler and Uncle Jim, Barbara's car is held up and Connie gets to the ball, dances with her "handsome prince", sings a medley of Strauss waltzes (a very funny sequence) and leaves on the stroke of midnight, being careful to leave her shoe on the grand staircase.

By the end everyone has had their comeuppance but Connie doesn't know - she has fled back to her old school, determined to become a teacher and an old maid. But after a beautiful rendition of "One Fine Day" from Puccini's "Madame Butterfly" and seeing all the "old maids" crying their eyes out she is more than happy to live happily ever after with her Prince Charming.

Leatrice Joy who during the twenties had been married to John Gilbert played the addled Aunt but something about her showed, to me, that she was just too smart for the part. I started to wonder why she hadn't succeeded in talking movies, she had clear diction and really handled the speedy delivery of the dialogue. Peggy Moran played one of Connie's pals at the beginning of the movie (the other one was Marcia Mae Jones). Peggy soon retired to marry the director Henry Koster.

Highly Recommended.

"Charming, how perfectly charming!"

[halkiralyfi · 9/10 · 25 May 2016]

• quoting the stepmother from the 2015's version of Cinderella. I must agree: the movie *First Love* is truly a charming one. I had my doubts before I started watching it but it turned out to be just lovely. As a huge Cinderella fan, finding this hidden gem in the list of adaptations of this old fairy tale was like a miracle. Probably this was the last live-action version on Cinderella I haven't seen (until now). Watching *First Love* was a bittersweet journey for me: I was sad that there aren't more Cinderella stories I can watch but at the same time I was happy and grateful that this last one was one of the best versions of them all. Naturally *First Love* has some faults: the characters are one- dimensional, Connie is a Mary Sue and the love between her and Ted Drake is really superficial. But still, I loved it. I also liked the idea of making one of the stepsisters (cousins here) a boy while the other one remained a girl, such a clever twist. The only part I didn't like was (Spoiler alert?) when Uncle Jim went crazy and hit his children. I know it was a different time but I think this kind of punishment was way too violent for a sweet movie like this. Oh, and lastly but definitely not least: Deanna Durbin was a wonderful singer and a talented actress. I can't wait to watch more movies she's in.

lovely and bittersweet

[blanche-2 · 8/10 · 2 December 2014]

Deanna Durbin stars with Robert Stack, Helen Parrish, Leatrice Joy, Eugene Palette, and Kathleen Howard in "First Love," a 1939 update of the Cinderella story, with Deanna receiving her first screen kiss.

I first had to get over seeing Robert Stack so young - omg.

Deanna plays Constance Harding, an orphan who is spending the summer after her graduation with relatives. It's a sterile household with her uncle (Pallette) who doesn't want any noise and prefers his family be out of the house when he's there; an unbelievable brat of a cousin, Barbara (Parrish); and an airhead aunt (Joy). The only warmth available comes from the servants.

While her mother is busy doing astrology charts, Barbara enjoys the life of a much-photographed socialite and woman about town who has a closet the length of one wall. She's after the most eligible bachelor in town, Ted Drake. One day, she doesn't wake up when she is called at noon and instead gets up at 2. She is invited to go riding at 2:30 with Ted and some others. Because she will be late, she sends Constance to the country club to hold Ted there by any means necessary. Constance does as she's told, but develops a crush on Ted.

The family is then invited to a fabulous party at Ted's. The servants get together and buy Constance a beautiful dress, a corsage, and a wrap from someone's relative. Barbara takes one look at her and makes up a reason why Constance needs to stay home -- something Barbara's brother knew was going to happen all along. But unseen forces are at work.

This is Deanna before my favorite part of her career, which is a little later. As a little girl, she was too energetic and her speaking voice too high-pitched for me. Here, she is delightful, but her singing voice, particularly the top, is thin. Later on, it would open up and be glorious. And Un Bel Di in English - it sounded like they took the literal translation and just had her sing it, with the words not only awkward, but out of order. Not a good choice for her, as the aria is for a much bigger sound, though it fit in very well with the theme.

What made this film a bittersweet experience for me was the beautiful acting of Kathleen Howard as the old maid with a cane, Miss. Wiggins. In those days, if you weren't married, you were nobody, and Miss Wiggins, beloved by her students, exemplifies that. You can tell by the way she talks that she believes life passed her by, but being a strong woman, she has gone on and made the best of it. The end frame of her made me cry. Such an affecting, poignant performance.

I loved this film. Deanna's first kiss garnered a lot of attention; later, the first kiss was tried with Shirley Temple, but in 1942 wartime, no one cared.

A well-acted drama

[martinpersson97 · 9/10 · 24 July 2021]

As always with Deanna Dublin, this is a movie worth watching.

The performances are splendid and the humour and drama well-placed. Supported by a great script, it does a great job of making you feel with the main lead, but also the supporting characters, especially the father.

Overall, a well played film that should be experienced by any Dublin-fan or lover of movies in general!

A Deanna Durbin Must-See Film

[JLRMovieReviews · 10/10 · 5 June 2014]

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.

Deanna Durbin as a musically-inclined Cinderella

[jarrodmcdonald-1 · 27 November 2022]

FIRST LOVE borrows from Charles Perrault's classic fairy tale Cinderella, which means the audience is able to quickly see where the plot's headed. But with Deanna Durbin playing Cinderella, nobody's gong to complain. In addition to providing a basic romantic storyline, the film features musical numbers that showcase Miss Durbin's vocal skill. More importantly, the script allows her to grow up on camera. She gets her first kiss in this movie, something the studio milked for a lot of publicity when it was originally released. The prince charming who kisses her is 20 year old Robert Stack in his motion picture debut.

The story begins with Durbin's character graduating from an all-girls finishing school. She's an orphaned teen who has no real family of her own. Seeing the other girls' parents at a commencement ceremony causes her to have a meltdown. But with prodding from a crotchety headmistress (Kathleen Howard), she pulls herself together. She agrees to go to New York City for the summer to spend time with her uncle (Eugene Pallette) and his family. The uncle generously paid for her education.

The sequence where she arrives at the uncle's posh mansion presents her as a fish out of water, and also introduces a unique set of supporting characters. Through the servants, we see how household activities are conducted. We learn how the uncle is perceived by employees, and just as interestingly, how the uncle's wife and two bratty kids are viewed.

Durbin does her best to get along with them, but she's seen as a nuisance and hanger-on by her female cousin (Helen Parrish), who's a year older. The older male cousin (Lewis Howard) loafs around and seems to derive a sadistic pleasure from the way his sister treats everyone. Meanwhile auntie (Leatrice Joy) is an airhead into astrology, and there are good running gags with her. But I'd say the most interesting person at the mansion, aside from Durbin, is the uncle. He goes out of his way to avoid his wife and kids, and he hides in the den most of the time.

The love interest isn't introduced until the end of the first act. Stack's character is initially presented as the intended love interest of the female cousin. There is a mix-up at an equestrian club...Durbin is almost run over by a horse, gets mud on her face and makes quite an impression. But both of them are smitten.

In true Cinderella fashion, there's to be a ball held at Stack's home. Durbin's invited as a courtesy, but of course nobody expects she will want to attend. But she does, as it means she will be able to see that handsome lad again. Soon the household staff has helped come up with a beautiful dress, one that looks more exquisite than the cousin's gown. When the cousin sees it, her jealousy takes hold, and she devises a plan to ensure that Durbin stay home and miss the ball.

We know that Deanna Durbin's character will make it to the ball, because what's the point of the film if she doesn't go to the dance and get her first kiss. The household staff are upset by the cousin's schemes and are determined to do something. With everyone else at the ball, Durbin feels quite alone in this huge mansion.

The home's mausoleum-like quality is conveyed with spacious sets constructed on the Universal soundstage. Production designers have gone to great lengths to show how opulent, yet austere the home is. The mansion set is spectacular, and it's easy to see why the film was nominated for an Oscar for best art design. Director Henry Koster uses some elaborate tracking shots with characters going up and down the humongous staircase.

In the next part of the story, Durbin gets to the dance with asssitance from a police escort. This occurs while aunt, uncle and cousin are detained along the road in their car, supposedly driving without proof of ownership. Those three end up going in front of a judge.

Meanwhile Durbin shows up at the ball, makes new friends and sees Stack again. There's a particularly funny scene where an opera singer, the night's entertainment, is being introduced and Durbin thinks they heard she can sing. So she performs an aria, which is beautifully sung, while the temperamental diva storms off.

After the aria, it's clear that everyone's been charmed by Durbin. Stack has definitely fallen for her. This leads to a delightful waltz scene with other couples fading in and out of view...where it's just our young couple dancing alone.

Stack says there are too many people around, and he takes Durbin outside on the balcony for some air. And of course, that's where he kisses her. It's been a perfect evening. Until she realizes what time it is and how she needs to get home. Of course, she loses a slipper on the way out.

At the same time the female cousin has finally arrived. She glimpses Durbin running off and becomes incensed to learn Stack danced with her. She heads to the mansion for a big confrontation.

At the mansion Durbin learns that the undle had arranged for the police escort. He also arranged for his family to be jailed. Though he wishes they hadn't gotten out.

Durbin admits she went to the ball and that she loves Stack. In anger the cousin fires the staff and Durbin leaves the next morning. The whole household has been turned upside down. Astrology-minded auntie blames everything on a bad constellation. But she believes the stars will be back in alignment soon. Of course the stars will not be properly aligned until you-know-who finds the girl who lost her slipper.

The uncle storms into the room where his wife's astrology books and charts are located, and he trashes everything. He's upset his niece left the house and tells his wife to stop obsessing about the stars and get back down to earth, or she'll really be seeing stars! He then gives his spoiled daughter a spanking and kicks his lazy son so hard in the derriere that he flies through a set of French doors. A comeuppance for each one of them.

Meanwhile Durbin's taken a train to her old school to teach music. The headmistress welcomes her back to become a spinster like herself.

In the last sequence, Durbin meets some of the new students. She is asked to sing 'One Fine Day' from a Puccini opera. Of course we know she can't end up an old maid. Cinderella got her prince in the end, and so will she.

During the final scene, while she's singing from Puccini, Stack shows up (with the other slipper). We learn the headmistress arranged for him to find out where Durbin had gone. He comes into the room, and Durbin sees him while finishing the song. She rushes into his arms. They leave together...