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All This, and Heaven Too (1940)

Approved | | Drama, Romance | 13 July 1940 (USA)
A duchess' irrational behavior toward the governess of her children triggers tragic events that will change her family's lives forever.

Director:

Anatole Litvak

Writers:

Rachel Field (by), Casey Robinson (screen play)
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Nominated for 3 Oscars. See more awards »

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Cast

Cast overview, first billed only:
Bette Davis ... Henriette Deluzy-Desportes
Charles Boyer ... Duc de Praslin
Jeffrey Lynn ... Henry Martyn Field
Barbara O'Neil ... Duchesse de Praslin
Virginia Weidler ... Louise de Praslin
Helen Westley ... Madame LeMaire
Walter Hampden ... Pasquier
Henry Daniell ... Broussais
Harry Davenport ... Pierre
George Coulouris ... Charpentier
Montagu Love ... Marechal Sebastiani
Janet Beecher ... Miss Haines
June Lockhart ... Isabelle de Praslin
Ann E. Todd ... Berthe de Praslin (as Ann Todd)
Richard Nichols ... Reynald de Praslin
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Storyline

When lovely and virtuous governess Henriette Deluzy comes to educate the children of the debonair Duc de Praslin, a royal subject to King Louis-Philippe and the husband of the volatile and obsessive Duchesse de Praslin, she instantly incurs the wrath of her mistress, who is insanely jealous of anyone who comes near her estranged husband. Though she saves the duchess's little son from a near-death illness and warms herself to all the children, she is nevertheless dismissed by the vengeful duchess. Meanwhile, the attraction between the duke and Henriette continues to grow, eventually leading to tragedy. Written by alfiehitchie

Plot Summary | Plot Synopsis

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English | French

Release Date:

13 July 1940 (USA) See more »

Also Known As:

El cielo y tú See more »

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Box Office

Budget:

$1,370,000 (estimated)
See more on IMDbPro »

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

Based on the true story of the Duc de Choiseul-Praslin, a French politician who was accused of the brutal murder of his wife Fanny Sebastiani in 1848. Praslin committed suicide via poison while under house arrest, subsequently causing the murder trial to be annulled. To this day the murder remains one of France's most famous "unsolved" murder cases. See more »

Goofs

As he lays sick, the governess has Raynald count the segments of tangerine. She starts out counting the first three with him. She interrupts her own count to speak with the Duke, but Raynald continues on. When the governess resumes the count with Raynald, the actual tangerine piece is segment number 7. She mistakenly calls it number 10 and continues with the count from there. See more »

Quotes

Duchesse de Praslin: Don't leave me, Theo!
Duc de Praslin: I'm late in Paris.
Duchesse de Praslin: But... I must talk to you! I never see you!
Duc de Praslin: The king expects me.
Duchesse de Praslin: [She grabs for his hands and he pulls it away] Does even the touch of my hands feel you with aversion?
Duc de Praslin: Oh really Frances...
Duchesse de Praslin: It must be aversion you feel since you always avoid me, never giving me a moment's thought or attention!
Duc de Praslin: I have no wish to avoid you Frances. I would talk to you by the hour if we could do so with calmness and sanity, but it always ends the same. -He begins walking out.
Duchesse de Praslin:
Duc de Praslin:
[...]
See more »

Connections

Referenced in All This and World War II (1976) See more »

Soundtracks

The War of the Roses
(uncredited)
Music by M.K. Jerome
Lyrics by Jack Scholl
Played on a spinet by Bette Davis
Sung by Ann E. Todd, Virginia Weidler and June Lockhart
See more »

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User Reviews

 
Soap Opera - And No Less Magnificent For It
9 August 2003 | by Danusha_GoskaSee all my reviews

"All This and Heaven, Too," is a soap opera, but of the best kind. It tells an adult story in a genuinely moving way. The involved viewer will have cried several times before the final fade-out; the movie earns its tears, and then some.

Its best features include:

Bette Davis' performance. Before this I knew she was a spectacular entertainer; now I know she can act. She is subtle and yet tremendously powerful. Her eyes, her dignified intelligence, and her self-restraint speak volumes. No camp here, just the telegraphing of quiet power.

Charles Boyer. Boyer was a man of substance; he served his country in World Wars I and II, studied philosophy at the Sorbonne, and stayed married to the same woman for over forty years. Again, as with Davis, he is restrained, as the narrative demands, but his substance telegraphs out of his body, his forced, tragic smiles, his stiff mien suddenly breaking into fitful efforts at frivolity, the quiet endurance with which he, at first, suffers his hated wife.

Barbara O'Neil is unforgettable as the Duchess de Praslin. O'Neil was the model of noble womanhood as Scarlett O'hara's mother; here she casts her decorum aside, after, first, shredding it to bits. I think I'll never be able to watch her in GWTW again without cracking up. Every Gothic Romance, including this one, requires a Hoyden - Rochester's mad wife, "Rebecca's" Mrs. Danvers. O'Neil chews them all to bits and spits them out. Even her false eyelashes appear as weapons, able to eviscerate her husband and her hated governess.

The supporting cast is no less superb. June Lockhart is a believably loving daughter; Harry Davenport, utterly un-French, is a wonderful, prophetic Pierre who warns Bette Davis and the viewer that when they enter the house of the Duke and Duchess, they enter Hell, and all hope should be abandoned.

Even the nasty girl who taunts Bette Davis at the opening of the film could not have been better cast.

Though black and white, the film reveals its high production values; it is rich and varied and offers the eye a sumptuous feast of fabrics, surfaces, and shadows. You won't miss color here at all.

I am torn about the plot, trying to decide if the movie wanted to make me, the viewer, experience the Duke as a weak man who allowed Mlle D, Bette Davis, to be exposed to so much social and emotional danger. I'd welcome others' thoughts on this question. In his apparent weakness, the Duke reminded me of the Paul Henreid, "Jerry" character in "Now Voyager," another married man who loved, and failed, a Bette Davis character.


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