Claysaba
Excellent, Without a doubt!!
Mabel Munoz
Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?
Billie Morin
This movie feels like it was made purely to piss off people who want good shows
GodeonWay
Let me start by saying I'm a HUGE Barbara Stanwyck devotee. But the role she is given in this hapless movie is so phony that nobody could have played it successfully. The story is of course, the stuff that vintage weepies are made from. And I have nothing against weepies: as long as the characters move me, I'll happily string along, no matter how ridiculous the story.But the characters in Always Goodbye are uniformly made of paper-maché. The actors seem to know it: Ian Hunter and Herbert Marshall give mechanical performances, and Cesar Romero bounces through his role as if he's anxious to quickly get off the set.Special note: if you detest obnoxious Hollywood child actors, little Johnny Russell's performance as Stanwyck's little boy is about as excruciating as they come. Don't say I didn't warn you.
bkoganbing
Barbara Stanwyck stars in this what was termed back in the day, a woman's picture. Always Goodbye is a remake of Ann Harding's Gallant Lady and it has Stanwyck giving up her infant son for adoption rather than trying to raise him as a single parent. That was simply not done back in the day of The Code.Herbert Marshall arranges the adoption of the infant to his friend Ian Hunter and wife who have been childless for years. Marshall saved Stanwyck from doing herself in. He even arranges for her to get a job in the fashion industry working for Binnie Barnes. As you can imagine the latest in Thirties fashion is worn here. If this were done over at MGM Joan Crawford would have had this part for sure.While on a buying trip to Paris, Barbara makes the acquaintance of Cesar Romero who provides a lot of the comedy in this film. He also gets a chance to show off his dancing ability which is considerable. Before films Romero was a dance instructor. She also runs into little Johnny Russell who turns out to be her son.I think you can see where this is going and I will say while it's not the greatest of Stanwyck films it is certainly nicely done. Barbara's best scenes in the film are with little Master Russell. She doesn't let the kid steal them from her either.In the end STanwyck has to make some critical choices. And finds out that you cannot always have your own way all the time.
mark.waltz
You're about to marry the man you love, but suddenly he's dead after a tragic accident. Now you find you're pregnant. Keep the baby? Give it up for adoption? Oh, I forgot to mention it's 1938, when illegitimacy was a total scandal and could ruin a young girl's life. And when you're Barbara Stanwyck, you can do one of several things. If you're Stella Dallas, you raise the child the best you know how and give it all the love in the world. But if you're Martha Ivers, Thelma Jordan or "Double Indemnity's" Phyllis Diedrickson, you scheme to get what you want, no matter what. This isn't the jingling jeweled Stella or any of those ruthless film noir broads; This is Margot Weston, an unlucky lady who manages to become a popular fashion designer, and when she finds her child aboard an ocean liner, she innocently schemes all she can to spend as much time as she can before the ship reaches New York.Once in New York, Margot meets her child's adoptive father (Ian Hunter) who is engaged to a rather selfish socialite (Lynn Bari) who has about as much interest in raising children as Hitler had in Democracy. Margot is a lovely lady with two suitors-a Latin lover (Cesar Romeo in a very feisty performance) and a good doctor (Herbert Marshall). So now she has another dilemma-accepting one of their marriage proposals or doing all she can to get Hunter to propose so she can be with her son for good. She knows that Bari will not be a loving mother, so letting her raise the young boy (an adorable Johnny Russell) is out of the question.A remake of 1934's "Gallant Lady", this version of an otherwise maudlin story is actually quite lively and a bit more comic than its original. That version starred sob queen Ann Harding, but there is a ton of difference between her and Stanwyck, so this late 30's version lacks the tear-jerking element of the original. That's OK, because the result is a very entertaining mother love drama that has soap opera elements but not the pathos. Stanwyck gives a superb performance as a woman who won't cry today or tomorrow over yesterdays, instilling her with a likability that burns a hole through the movie screen. Hunter and Marshall were practically interchangeable as actors, so to see them in the same film together is a bit daunting as far as remembering who is who. The comedy between Stanwyck, Romero and Russell on the boat (as the little boy becomes Romero's rival for Stanwyck's attention) is lighthearted and fun. The result is a film with a better screenplay than normal for films of this nature and a delightful discovery.
lora64
It's a touching tale that begins with a tragedy and the harsh realities of life in which Margo, played by Barbara Stanwyck, has to give up her child. Life goes on and she finds fulfilment in a career and a new love but there are some unexpected twists and turns ahead for her.I'm so pleased to discover this movie; didn't know about it until today and it's a real treat to follow the careers of these stars. Ian Hunter was just out of his King Richard role in "The Adventures of Robin Hood," and shortly to make "The Sisters" and "The Little Princess." For a change he's been given a more prominent part to play here, which is nice as I considered him quite a good actor not given enough opportunities to 'shine' in dramatic roles.One sees a younger Herbert Marshall before several great roles in the years ahead, always with that fine sounding, quality voice so memorable in many films, particularly in "The Razor's Edge." A very young Cesar Romero is amusing as the Count (not sure if he really is one though) and never hesitates to charm any woman within two feet of him! It keeps him rather busy, flitting from flower to flower, but such are his ways. He also has a chance to demonstrate his beautiful dancing skills as he was a professional early on in his career. Ms Stanwyck never seems to change much over the years in her beauty and acting talent.This is a very human drama that time does not alter. I'd like to buy the video one day if ever it's available.
