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The Old Maid (1939)

 -  Drama  -  2 September 1939 (USA)
7.8
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Ratings: 7.8/10 from 1,847 users  
Reviews: 30 user | 9 critic

The arrival of an ex-lover on a young woman's wedding day sets in motion a chain of events which will alter her and her cousin's lives forever.

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(screen play), (based on the play by: Pulitzer Prize), 1 more credit »
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Cast

Complete credited cast:
...
...
Delia Lovell
George Brent ...
Clem Spender
...
...
Tina
...
Dora
James Stephenson ...
Jim Ralston
Jerome Cowan ...
Joe Ralston
William Lundigan ...
Lanning Halsey
Cecilia Loftus ...
Grandmother Lovell
...
Jim
Janet Shaw ...
Dee
...
John (as DeWolf Hopper)
Rest of cast listed alphabetically:
Rod Cameron ...
(scenes deleted)
Raymond Rayhill Powell
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Storyline

Delia marries Jim, not Joe After Delia breaks her engagement to Clem and marries Jim, Clem promises to marry Delia's cousin Charlotte, but he dies at the battle of Vicksburg leaving Charlotte an unwed mother. She and her daughter Tina, presumably an orphan, move in with Delia who legally adopts the girl. Charlotte watches her daughter grow up and get married, never able to claim her as her own. CORRECTION; Delia breaks her engagement to Clem, in favor of wealthy Jim. Cousin Charlotte comforts Clem, and becomes pregnant. Clem dies in the war before he can marry her, and Charlotte raises her daughter as a "foundling." When Jim's brother, Joe, falls in love with Charlotte, Delia, out of spiteful jealousy, destroys the forthcoming wedding, and eventually takes Charlotte's child from her. Written by Ed Stephan <stephan@cc.wwu.edu>

Plot Summary | Add Synopsis

Taglines:

Vividly, unforgettably, a woman's love starved soul is revealed. All those strange secrets she locks in her heart ... moments of rapture and of heartbreak ... longings that no man can fathom. Of these has the year's finest picture been woven!

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

2 September 1939 (USA)  »

Also Known As:

A Velha Ama  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Victor System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The 1935 Pulitzer Prize-winning play opened at the Empire Theatre in New York on Jan. 7, 1935 and ran for 305 performances. The leads were played by Judith Anderson and Helen Menken. Marjorie Lord, who later gained fame as the wife of Danny Thomas on TV's Make Room for Daddy (1953), was a replacement cast member in a supporting role. Producer-Director Ernst Lubitsch bought the rights to the play, intending to star both Judith Anderson and Helen Menken in a Paramount production, but he sold the rights to Warner Bros. in Jan. 1939. See more »

Goofs

The scene where Delia has come to the orphanage to speak with Charlotte, we can see Charlotte's sleeves change from rolled up to down several times within the shot. See more »

Quotes

Charlotte Lovell: She thinks I can't understand her. She considers me an old maid.
Delia Lovell Ralston: My dear.
Charlotte Lovell: A ridiculous, narrow-minded old maid. What else can she ever think of me?
Delia Lovell Ralston: Poor Charlotte.
Charlotte Lovell: Oh, but you needn't pity me. Because she's really mine. If she considers me an old maid, it's because I've deliberately made myself one in her eyes. I've done it from the beginning so she wouldn't have the least suspicion. I've practised everything I've ever had to say to her, if it was important, so that I'd sound like an old maid ...
[...]
See more »

Crazy Credits

The opening credits are shown on facsimiles of wedding invitation cards. See more »

Connections

Referenced in The Film Fan (1939) See more »

Soundtracks

Bridal Chorus (Here Comes the Bride)
(1850) (uncredited)
from "Lohengrin"
Music by Richard Wagner
Played as background music and hummed by Bette Davis
Reprised at Delia's weddimg and on a music box before Dee's wedding
See more »

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User Reviews

 
Not Really Hers But Theirs...
11 March 2012 | by (Cieszyn, Poland) – See all my reviews

Do things in life get so complicated that all seems to be a chain of desperate movements within a spider's web of confusion? Can human relations turn out to be so intensely complex and unendurable? Can pretense culminate through years in order to burst out at last or make the heart still for good? Something quite rare in real life, perhaps, but quite frequent on the screen.

One of classic representatives of a drama where so much is being felt yet so much being left unsaid is a play by Zoe Akins which inspired screenwriter Casey Robinson and director Edmund Goulding to adapt it to the screen in 1939. Initially, it had been a project by Lubitsch within the Paramount studio with the leading roles planned for Judith Anderson and Helen Menken. That, however, had not materialized. Instead, this Warner Bros production stands out as one of the key entertainments of its time. Goulding's subtle direction can be analyzed as a model from different points; Robinson proved to be faithful to the theatrical source making only some little alternations for the moral requirements of the Code; Tony Gaudio's cinematography boasts of some outstanding moments with striking undertones of images...but those important aspects are not where the movie's true strength lies. It does lie in the cast who make a rather 'unattractive' (for today's viewers) content highly interesting.

BETTE DAVIS and MIRIAM HOPKINS in the roles of 'Mrs Stubborn' and 'Mrs Serious,' as the two sisters nickname each other, have equal screen time as female co-stars. That makes THE OLD MAID not merely a vehicle for the Warner Bros star (Davis) but a highly unique, sometimes extremely controversial collaboration of the two. The treasure of skill and movie's major merit is not really hers (Davis's) but theirs...It is impossible to say whose performance is better; that would never be an idea of looking at the film. It is enough to state that the two prove unusual talents and extraordinarily generous acting. The lives of the two actresses crossed at the moment, faced conflicts. Consequently, those emotions are excellently put into all the effect they achieve together on the screen. While Davis was an important star of Warner studios at the time, Hopkins, unfortunately, remained underrated though she already had some great roles behind her. As far as Bette Davis is concerned, I totally agree with New York Times reviewer Frank S Nugent who observed: "Miss Davis has given a poignant and wise performance, hard and austere of surface; yet communicating through it the deep tenderness, the hidden anguish of the heart broken mother." Her portrayal, with the time span of one generation, is supplied with undeniably broad emotions and torments that she pays seeing herself in her own daughter - the girl who was hers only when being very little and who, as a teenager, can call her nothing else than 'aunt Charlotte.' She is a very sympathetic character and easily identified with by various female viewers – there lies the heart of a temperamental maid and a broken mother. Meanwhile, Miriam Hopkins, 'the least desirable companion on a desert island' as the Harvard Lampoon labeled her, proves to be a top notch talent here depicting various tricks of emotional crush with ease. Her Delia is a sort of 'forever young'... a woman of sophisticated appeal and harsh inaccessibility desirable for the kind of role she portrays. But the tensions reach climax when the two women are together. Among many scenes, I would mention the Christmas scene when the time comes for bitter words...though everyone's supposed to be jolly...

In between them, as an object of their jealous love, comes Jane Bryan as a young, vibrant, temperamental 'foundling' CLEMenTINA. 'When she talks, she laughs; when she walks, she dances,' as Dr Lanskell (Donald Crisp) nicely defines her. Miss Bryan, though given a considerably limited but significant screen time, gives a lively performance and steals one or two moments of attention from others. Being very memorable here, we can say that she is, in a way, the third female top notch performer. Her movements before the camera, her vibrant gestures, her acting in general call the attention even of the most 'pretentious' viewers. In the supporting roles, a mention should be made of a mainstay of old Hollywood classic (especially in Bette Davis film), Donald Crisp as Dr Lanskell. His remarks are cutting at moments and his presence filled with positive portrayal of an elderly, experienced guy. George Brent, given the role thanks to Bette Davis (the first choice was Humphrey Bogart), has his few moments of good acting as Clem though the role is quite marginal.

Finally, I would like to address the appealing psychology of the film. It accurately depicts the culmination of feelings within the wretched scapegoating of other people, sometimes even those who have more rights to something or somebody than we do. Mind you that many scenes take place on staircase that marks the undertone of higher and lower status within favoritism. Charlotte is the scapegoat of the events and yet...there is some hope for her, too... when a great day comes. The finale is so touching because of its simplicity at a relatively satisfactory pace. THE OLD MAID reminds us of universal laws that govern human relations where one loving deed redresses many bitter ones.

Let me quote Frank S Nugent who observed something quintessential about this old Hollywood classic: "Scenically, it is a trifle on the static side, which could not be avoided altogether. But dramatically, it is vital, engrossing and a little terrifying." Indeed, its drama has not dated and, though a sweet tearjerker at certain moments, it may wonderfully absorb the viewers of today. Who makes it 'vital, engrossing, little terrifying' if not the PERFORMERS? Thank you Bette, Miriam and Jane! Thank you all!


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