7.7/10
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35 user 12 critic

The Old Maid (1939)

Approved | | Drama | 2 September 1939 (USA)
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.

Director:

Edmund Goulding

Writers:

Casey Robinson (screen play), Zoe Akins (based on the play by: Pulitzer Prize) | 1 more credit »
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1 win. See more awards »

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Cast

Complete credited cast:
Bette Davis ... Charlotte Lovell
Miriam Hopkins ... Delia Lovell
George Brent ... Clem Spender
Donald Crisp ... Dr. Lanskell
Jane Bryan ... Tina
Louise Fazenda ... Dora
James Stephenson ... Jim Ralston
Jerome Cowan ... Joe Ralston
William Lundigan ... Lanning Halsey
Cecilia Loftus ... Grandmother Lovell
Rand Brooks ... Jim
Janet Shaw ... Dee
William Hopper ... John (as DeWolf Hopper)
Rod Cameron ... Undetermined Secondary Role (scenes deleted)
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Storyline

After a two-year absence, Clem Spender returns home on the very day that his former fiancée, Delia, is marrying another man. Clem enlists in the Union army and dies on the battlefield, but not before finding comfort in the arms of Delia's cousin, Charlotte Lovell. The years pass and Charlotte establishes an orphanage and eventually confesses to Delia that her dearest young charge, Tina, is an fact her own child by Clem. Jealousy and family secrets threaten to tear the sisters apart. Written by L. Hamre

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:

USA

Language:

English

Release Date:

2 September 1939 (USA) See more »

Also Known As:

Htjela sam dijete See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (RCA Victor System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on October 30, 1939 with Miriam Hopkins reprising her film role. See more »

Goofs

At about 1:09, when Tina is standing at the staircase after returning from the ball, as Charlotte is eavesdropping, the shadow of a boom mic passes across the carpet, just after Tina says "What sort of things?" This is especially puzzling because there is no further dialogue in the shot and no reason for the mic to follow Tina. 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 »


Soundtracks

(Oh My Darling) Clementine
(1884) (uncredited)
Music by Percy Montrose
Played as background music when Clementina meets Delia
Reprised as background music often
See more »

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User Reviews

 
A Warner Major Feature
1 April 1999 | by harry-76See all my reviews

With Warner Bros. studio chief Jack L. Warner himself in charge of the production, "The Old Maid" is a fine example of what that studio's "stock company" was able to produce in the late '30s and early '40s. Here is Bette Davis and Miriam Hopkins, assisted by George Brent and Donald Crisp acting up a storm a very soapy piece of melodrama, and making it all very engrossing. Based on Zoe Akins' Pulitzer Prize play and Edith Wharton's novel, this drama of sacrifice, deception, and raging emotions is given a superlative treatment by this impressive company. The film even has the services of Max Steiner's score, underlying every scene with original and adapted source material. Edmund Goulding's direction is sure-footed and he has managed to curb histrionic accesses of the two stars nicely; their acting is quite restrained, yet powerful. Whatever sparks flew between the two ladies off-screen may be justified by what on-screen legacy is left for all to appreciate. Further, the drama depicts the limited and restrictive social/class mores of the period, undoubtedly imported from strict European values.


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