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How on earth is this regarded as a classic? Been meaning to watch for a couple of years given the praise the film has received. Maybe the first half hour is intriguing even if it is overacted. The final hour of the film is overlaid with the most dramatically annoying string score, whilst the plot spins more and more absurdly sentimental and even reaching crescendos of creepy obsessiveness from the main protagonist. The ending is as weak as the two leads. The child is a terrible actor. Everything about the film is irritating, too slow paced and hammed up. As bad as classic film as I¡¯ve seen. Watched on BBC iPlayer.

I had a girlfriend like Beth Davis, this film reminds me of the magic of both of them..... And my face is filled with smile and eyes with tears.....

Another reason why Bette Davis is the Greatest American Star. Just watch and feel the heartbreak of mental illness. And the triumph at the end. Charlotte doesn't need a man, she has herself! She is STRONG!

This is my favorite Bette Davis movie. I¡¯ve watched it many times over the years. Great cast!

Not a huge Bette Davis fan but I watched this again recently and thought it hits near classic status. The lines at the end will always be iconic, but the movie gets just a tad too pat, too wonderful in a way unique to the Golden Age of Hollywood. That knocks it down just a peg for me. This is one of Davis' better roles, though. I actually like her in it.

Davis gives a remarkable performance both big and filled with subtle nuances. The over-quoted ending scene feels a bit silly but most of what comes before is a convincing narrative about becoming the best version of oneself even if that means alienating others.

The outstanding performances by Bette Davis, Claude Rains and Paul Henreid are often cited, as they should be. But the performances I love best in this film I so often watch are those of Gladys Cooper as the epitome of a controlling mother and that of Mary Wickes as the nurse, Dora. "Dora, I suspect you're a treasure."

Good entertainment- good characters & performances.

Chick Flick starring the rough-on-the-eyes and always insufferable Bette Davis, who couldn't act and couldn't even spell "Betty." And what kind of movie title is "Now, Voyager" anyway? Why not "Next Week, Voyager"...? It's got Claude Rains and Paul Henreid in it, but this ain't no Casablanca!

This effortfully romantic film about a young though aging single woman who's pretty much terrorized by her mother in her gilded cage has a dollop of romance and an extra large helping of psychoanalysis.

I guess I'm the weird one, I found this cinema "classic" to be rather dull. In the first half of the movie you get a mousy Bette Davis, in the second half you get a perfectly normal Bette Davis. This dull story gives her little opportunity to show her acting chops.

Overwrought with smarmy music from the very beginning.

While the plot seems very old fashioned, the themes of self-love and mature love of others bring together this film, which has an amazing ability to tell a story. The music is sublime, the acting just wonderful and the lessons are important.

Despite its age, despite its being black-and-white, despite its simple special effects, this movie still works. It works due to the superior acting and the simple approach to movie-making. Filmed in 1942 -- during WWII -- this movie makes a believable tour to Boston, a rural spa, an ocean liner, Rio de Janeiro, and more, all without leaving Hollywood. If you haven't seen it, it is worth watching. If you have, it is worth watching again.

Interesting. BETTE DAVID still lovely, Paul HEINREID. Soap Opera. Dowdey spinster blossoms out of domineering mother's control. Very famous. Title based on a WALT WHITMAN poem, like encouraging fledglings to fly. I never saw it before 온라인카지노추천, 7.11.2021

"I hate goodbyes." "They don't matter. It's what's gone before." A melodrama through and through but a surprisingly good one. Davis is fantastic, borderline a career role for the highly esteemed perfectionist, and the film succeeds in large part because the script rests so heavily on her shoulders. Charlotte's bristling under parental authority, lack of self-confidence, and deep personal dissatisfaction with herself is a timeless and should resonate in particular with the Millennial and Gen Z crowd. The love story may be somewhat drawn-out (particularly suffering from the deviation into Charlotte's return to recuperation and interaction with her lover's daughter by chance) and features some wistful dialogue at points, but has an appealing classical style to it; Henreid is a great complement, even if he only pops in intermittently, and Rains has an undeniable charisma as a supporting character (despite his past penchant for villainous roles). Charlotte herself is an engaging character, emerging damaged from a flawed upbringing to arrive at a satisfied, but far from perfect adulthood, and not without awkwardness and personal struggle in the meantime. I'm sure you can criticize some unrealistic elements and liberties taken with the events of the film but Davis delivers overall a charming winner here. (4/5)

I've avoid seeing this film for years. But, I'm glad I finally got to screen it. Bette Davis is super in this role. There's a depth to her performance that lovers of acting will surely appreciate.

Couldn't really get totally into what was essentially a retelling of the Ugly Duckling, but the transformation Bette Davis exhibits throughout this film gives her a chance to display some pleasingly enjoyable to watch range. I also found the openness from some of the more admirable characters with regard to mental illness surprisngly refreshing for 1941. 6.5/10 *Binging Bette Davis #5

This movie reminds me a lot of my mother's relationship with her own mother, and my grandmother's relationship with hers... hard women who gave up their own dreams become resentful toward their daughters. A deeply important movie and Bette Davis is always incredible.