Tillie the Toiler is a 1927 silent film comedy produced by Cosmopolitan Productions and released through Metro Goldwyn Mayer studios. It is based on Russ Westover's popular comic strip ... See full summary »
The frothy experiences of a vain little flapper. Her father induces an actor friend to become a gentlemanly cave man and the film becomes another variation of the 'Taming of the Shrew' ... See full summary »
Robert G. Vignola
Young Mary feels like a prisoner in the New York apartments of her step-father John Bussard but everything changes when her heartless guardian dies in an accident. Mary is left a fortune ... See full synopsis »
Suave Dan Hardesty, a convicted murderer, is apprehended by Steve Burke, a police detective, in Hong Kong and accompanied on the SS Maloa headed for San Francisco. On board, Dan romances Joan Ames, a terminally ill socialite. She is unaware that his ultimate destination is San Quentin. Both realize that their time together is fleeting so they make a pact to meet at a Mexican night club on New Years Eve. When they part in San Francisco they know that the odds are against them.Written by
Gary Jackson <email@example.com>
"Screen Director's Playhouse" broadcast a 30 minute radio adaptation of the movie on December 30, 1949 with William Powell reprising his film role. See more »
In the scene where Dan and Joan meet at a bar and toast one another, keep an eye on Dan's drink. (It's a rare concoction that appears cloudy when first poured.) There are many shots spliced together to show the ensuing dialogue and toast. In each, the cloudiness and quantity of Dan's drink change quite noticeably after a fateful spill and before he even takes a sip. See more »
Hong Kong Bartender:
[mixing a very complex drink]
I haven't made one of these since the fourth of July. I was making one when the quake hit Frisco. Believe me friend, I wouldn't go to all this trouble for any of these foreigners. Uh, uh, gotta wait a minute to let the oil sink in. There you are partner, you can tell your grandchildren about that one.
[before Dan can take a sip, the contents of the glass are knocked out of his hand by Joan backing into him]
Say what in the name of...
Why... I'm so sorry.
[...] See more »
The opening title card has a cruise ship in the background. See more »
I haven't seen 'Love Affair (1939),' but I have seen 'An Affair to Remember (1957),' and that film undoubtedly owed something to Tay Garnett's 'One Way Passage (1932).' In McCarey's film, a trans-Atlantic liner becomes a metaphor for love: two people fall hopelessly for one another, becoming adrift on a vessel of passion that precludes all former relationships or future life plans. When the ship reaches its destination – New York – reality intrudes on emotion, and love is thrown into turmoil. In 'One Way Passage,' the reality is death itself. Joan (Kay Francis) has been diagnosed with a terminal illness, and will be lucky to survive the journey to America. Dan (William Powell) has been convicted for murder, and in San Quentin awaits his gallows. Neither knows that the other is walking death row, either figuratively or literally, but love intercedes on their behalf: just as a star is brightest before its extinction, so too is love at its most passionate when the lovers' time is limited.
Despite its very brief running time (67 minutes), 'One Way Passage' is one of the great unsung romances. An aura of hope pervades the film. Though the viewer is always aware of the inevitable, I loathe to describe the story as a "doomed romance." Such a label would properly refer to, say, Lean's 'Brief Encounter (1945)' or Ophüls' 'Letter from an Unknown Woman (1948),' in which the prevailing mood is that of tragedy and misspent emotion. In 'One Way Passage,' not an ounce of passion goes to waste, each lover fully aware that their time together is brief. I was also struck by the notion that love doesn't necessarily entail complete openness between lovers. Lying, if done to protect rather than deceive, can be the most heartbreakingly romantic thing of all (I'm reminded of the devoted father in 'A Night to Remember (1958)' who, with admirable composure, assures his family that the Titanic will not sink, despite knowing that his own death is unavoidable). Garnett's casual use of long takes in masterful, giving the story a poetic fluidity without drawing attention to itself.
William Powell was one of the busiest stars of the 1930s, enjoying the security of, not one, but two recurring characters (Philo Vance and Nick Charles, both detectives). 'One Way Passage' was produced by Warner Brothers before he moved to M-G-M in 1934. Even before 'The Thin Man (1934),' however, Powell was one of the classiest stars in Hollywood, here delivering his dialogue with unsurpassed aplomb. Kay Francis was a new face for me, but her eyes simply sparkle with life and emotion, her character torn between the joys of love and the heartbreak of impending death. Of the supporting players, only Frank McHugh – as a drunken pickpocket with a weaselly cackle – destroyed the mood of the film, his alcoholism far less amusing than Nick Charles' subsequent hankering for martinis. While Aline MacMahon and Warren Hymer are strong, 'One Way Passage' truly belongs to Powell and Francis, and to a love than persists long after its participants have moved on to other worlds.
6 of 6 people found this review helpful.
Was this review helpful to you?
| Report this