During the Great Depression, a wealthy banker throws away his wife's expensive fur coat; it lands on the head of a stenographer, leading to everyone assuming she is his mistress and has access to his millions.
The obsessive and jealous shipowner Bruce Vail does not accept the divorce his wife Irene Vail achieved in London, and he hires his driver Michael Browsky to forge adultery with Irene in Paris to make the decree null. However, she is rescued by the headwaiter Paul Dumond, who punches Michael and locks Bruce and his private eyes in a locker, and they spend a wonderful night together in the restaurant Chateau Bleu, where Paul and his best friend Chef Cesare work, and they fall in love for each other. Meanwhile, Bruce kills Michael and blackmails Irene, blaming Paul and forcing her to return with him to New York. But Paul does not give up on Irene, and moves to New York with Cesare trying to find her love.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The Hindenburg is mentioned as (successfully) completing a transatlantic trip, with the husband on board. This movie was released (USA) March 5, 1937. The Hindenburg disaster occurred on May 6, 1937. It never made that return flight to Europe. See more »
You're right, Bruce. This time you're right. This time there *is* another man. You set a trap to catch me with one... and another came instead, to tell me that he loves me, and for me to tell him I love him too. And *you* did it! You did it all by yourself! Isn't that funny? Don't you think that's funny? Before he came, I never even looked at another man. But you wouldn't believe me! So you created one, and you sent him right into my arms...
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This mixture of suspense, comedy, and romance might seem unlikely to work, but it does, due to director Borzage's vision of a love that magically transcends even the most dire of obstacles. This movie is in love with love and the improbable, and in some ways is a Cinderella story almost in reverse (including the removal of a lady's slippers on two occasions). Arthur and Boyer are lovely together. Some of their scenes, luminously lit and heightened by Alfred Newman's lyrical score, are heartbreaking: their beautiful voices are almost like cellos. (Newman wrote a number of such tender and yearning scores in the thirties, including those for "Stella Dallas" and "These Three.") There's also an interesting paralleling of the love/passion that Arthur's husband has for her and that Boyer's friend has for him, although one is destructive and the other nurturing.
Years ago there was a local radio station in San Francisco that played short clips from films and invited listeners to identify the film and the actors and thereby win a prize. At that time I had never seen "History," but knew of it and its two stars, and was therefore able, on hearing the distinctive voices of Arthur and Boyer, to identify the film and be awarded a free fancy haircut.
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