Hellen I like the storyline of this show,it attract me so much

Smartorhypo Highly Overrated But Still Good

Ketrivie It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Tayloriona Although I seem to have had higher expectations than I thought, the movie is super entertaining.

MOSSBIE This is a beautifully acted and realized "soap" kind of mother love films, which done in 1946, has the ability to still bring down the toughest EVIL MEANIE to his or her knees. De Havilland is deserving of the Academy Award she won for her range and her excellence as a screen actress. She may not have come from the Method school of training or RADA but her varied performances which can quite literally be called a brilliant melange of characters in THE HEIRESS to SNAKE PIT in which she is as good as it gets in female roles. Charlie Brackett wrote a tight screenplay for what could have gone on for hours and the art direction and music all work along with one of those great supporting group of character actors of the day. All told, it is De Havilland's controlled and believable performance that make this a film a must see for the most hardened critic. Grown men will not admit to liking this film because it more than likely will bring a tear of two.....it is that good.

davy_crickett First, let me say I'm in awe of the previous reviewers and their spot-on knowledge of this film and Olivia de Havilland's body of work. Bravo, and thank you for pointing me towards this "hidden" treasure.So allow me to confirm that this "small" 1946 movie is still riveting fare in 2010. The subject matter is just as relevant today and will speak to women for generations to come. In that regard, its forever timeless.Filmed in b&w, and happily so, though 7 years newer than "The Wizard of Oz"... I'm still waiting for them to colorize the rest of that bloated Saturday matinée flick. *s* Tune in next time when I attack "Gone with the Wind," "Casablanca" and "Citizen Kane."This film dealt with a delicate subject in a frank and realistic manner. I'm particularly impressed by the way this movie was story-boarded. It flowed brilliantly. If shot today, it would be shoved in my face, every stinkin' detail, nothing left to the imagination... plenty of yelling, smashing dishes and cussing.Equally impressive is Ms. de Havilland's Oscar-winning performance. I couldn't take my eyes off her. When the movie took her back 20 years younger, my mouth dropped.But it was much more than the make-up. It was Olivia.Happy ending or sad? not telling. I'll reveal this, though. This 55 year old man doesn't typically cry at weddings or funerals, but by the closing credits, both cheeks were wet. But then maybe its because she reminds me of my mother, 1933-1981.Search out this gem.

robert-temple-1 Olivia de Havilland well deserved the Oscar she got for the lead role in this melodrama. In an astonishing display of virtuosity, she plays the character over the course of 20 years, being utterly convincing both as a sweet young thing with an innocent smile and a hard-bitten middle-aged business woman whose lips are hardened into a permanent grimace of determined refusal to feel anything. Rarely has an actress shown such a range of both age and mood in the same film. As always, Miss de Havilland's eyes positively glow like hot coals with the intelligence and high character which are so much her own personal nature. Having known Miss de Havilland somewhat during the 1990s in Paris, I can testify that even in her eighties she was mesmerising and perfectly spell-binding as a woman, and one of the most fascinating people I have ever met. She has such a fine, generous and loving nature, and such a sound character that she is simply a paragon of human goodness. All of these qualities shine forth in her movies, and were responsible for her turning Hollywood upside down with the famous 'de Havilland Decision' of the courts, which restricted the power of the Hollywod studios over their actors. She has always been as courageous as, presumably, her ancestor must have been who accompanied William the Conqueror when he invaded England. And yes, Miss de Havilland is connected with the once-famous de Havilland aircraft: that was the same family. She is British, which explains why she was able to speak like that in this film during the London scenes (one reviewer wondered how she did it). Another sterling performance in this film was by the wonderful Roland Culver, one of Britain's best-loved character actors. In this film, he showed such finesse and such an impeccably delicate touch that he acted circles round everyone but Miss de Havilland herself. John Lund made his film debut here, in a double-role, which called upon him to play two very different types of personality, which he did very well indeed. Mary Anderson was especially fine in her portrayal of a sweet girl who goes mad with jealousy and becomes a virago when her back is against the wall. But the main importance of this film was its social message, valid for the times although irrelevant now, of intolerance for the unmarried mother. Now they are everywhere, and we pay for them in their hundreds of thousands with our taxes. But in those days, it took rare courage to dare to have a baby and attempt to keep it if you had no husband. Social ostracism and vilification were so strong then, when humans were still acting with their 'herd mentality' of exclusion of anyone challenging the norms. This film helped to change the social picture, and it is well for us to remember that such films as this did not only have a message, they often delivered it too. But without Miss de Havilland in the lead, this film might well have fallen into a sentimental slop bucket. It was she who raised its tone to that of art.

dbdumonteil ...and I know that people will say it's soap opera !But to make that kind of soap opera,as Stahl,Minnelli and Sirk showed it through the years,it takes some kind of genius! First the structure:first a prologue ,then flashbacks and an epilogue ,which while going back to the present,connects all the links of the chain in an awesome way.It's not unlike Leisen's previous (and remarkable too) 'Hold back the dawn" : Lord Desham plays the same part as the director in the 1941 movie ;Although Jody does not tell her secret to him ,it's finally him who makes her dream come true."To each his own" possesses everything that makes a melodrama great: a "tearjerker" (not meant pejoratively) subject: the well known story of the unwed mother who's forced to leave her child to another family ,it recalls "the old maid" ,another classic where Bette Davis had a fate similar to her good friend Olivia de Havilland's; and ,another permanent feature of the genre,the heroine who has lost love (or who thinks that she 's through with it )and who begins a formidable business woman career (there are plenty of examples:Stahl's "Only yesterday" and "imitation of life" ,Sirk's "Written on the wind" );and a grandiose finale with a last line (I think it is our dance ,mother) to rival the best of the last lines.To write that De Havilland deserved her AA is to state the obvious.She actually plays three parts ,with the same talent.Like her peer Davis in "the old maid" ,she was not afraid of making herself look older or uglier .(see also "the heiress" "hold back the dawn" "snake pit" ).