Til We Meet Again 1940 Tvguide
A dying woman shares a shipboard romance with a criminal on his way to the gallows.
Moving-picture show Details
Likewise Known As
We Shall Meet Again
Genre
Release Date
Apr 20, 1940
Premiere Data
New York opening: week of fourteen Apr 1940
Production Company
Warner Bros. Pictures, Inc.
Distribution Company
Warner Bros. Pictures, Inc.
Country
U.s.a.
Technical Specs
Duration
1h 30m
Sound
Mono (RCA Victor System)
Color
Black and White
Theatrical Aspect Ratio
i.37 : ane
Picture Length
12 reels
Synopsis
In Hong Kong, fugitive Dan Hardesty fleetingly meets and is attracted to Joan Ames when the pair share a paradise cocktail. Every bit he leaves the bar, Dan is arrested past Steve Burke, the San Francisco police detective who has pursued him half way across the world in his conclusion to bring Dan back to face execution at San Quentin. Steve takes his prisoner aboard the next homeward bound ship, the aforementioned liner on which Joan, who is as well attracted to Dan, is traveling while pending her decease from an incurable eye ailment. The 2 lovers are thus reunited, each hiding their tragic fate from the other. Also traveling on board are Rockingham T. Rockingham, a con artist and quondam friend of Dan, and the Countess de Bresac, Dan's former lover and protege. Together, Rocky and the countess formulate an escape plan for Dan when the ship docks at Honolulu. As the ship reaches the harbor, the countess slips Steve some sleeping pills, thus preventing him from imprisoning Dan in the ship's brig. The countess besides arranges for her friend, Herb McGillis, to smuggle Dan out of the harbor, just at the terminal minute, Dan finds himself unable to carelessness Joan and so endangers his one run a risk at liberty by accompanying her on a trip into the mountains. At the finish of the mean solar day, Dan is preparing to brand his getaway when Joan collapses and he is forced to bear her aboard transport where he is apprehended by Steve. After learning from Joan'south friend, Bonny Coburn of Joan'due south impending expiry, Dan struggles to hide his knowledge as the lovers bid farewell, promising to come across over again on New Yr's Eve. However, every bit the ship docks in San Francisco, a reporter learns of Dan's story and rushes to interview Joan, blurting out the truth of Dan's capital punishment. Equally they depart the ship, the lovers share a final embrace, neither one enlightened that they take discovered each other'due south tragic secret.
Coiffure
Videos
Motion picture Details
Also Known As
We Shall Meet Again
Genre
Release Engagement
Apr 20, 1940
Premiere Information
New York opening: calendar week of xiv Apr 1940
Production Company
Warner Bros. Pictures, Inc.
Distribution Company
Warner Bros. Pictures, Inc.
Country
United States
Technical Specs
Elapsing
1h 30m
Sound
Mono (RCA Victor System)
Colour
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
12 reels
Articles
'Til We Meet Once more
For almost of his career, George Brent was a leading man whose function often seemed to be to provide solid - and sometimes stolid - support to such female stars as Bette Davis, Kay Francis, and Greta Garbo. Rarely did he go a take a chance to shine as brightly equally his leading ladies. In the romantic melodrama 'Til We Meet Again (1940), nonetheless, Brent and Merle Oberon are true co-stars playing doomed lovers who meet equally they're boarding a send bound from Hong Kong to San Francisco. No wonder the film -- a remake of one of the most fondly remembered romances of the 1930s, One Manner Passage (1932), which starred William Powell and Kay Francis as the lovers -- was 1 of Brent's favorites. Brent plays a criminal who'south headed for the electrical chair at San Quentin. Oberon is dying of heart disease. The lovers continue their secrets from each other, with the help of the policeman who'south transporting Brent's character (Pat O'Brien), and a sympathetic friend (Geraldine Fitzgerald).
The Irish-born Brent'due south colorful past included an apprenticeship at Dublin'southward prestigious Abbey Theatre, a stint every bit a messenger for the Irish Republican Army, and a smuggled escape by ship to Canada with a price on his caput. After theater piece of work in Canada and the U.S. and some small-scale roles on Broadway, Brent made his manner west, where Warner Bros. signed the tall, nighttime and handsome Irishman to a contract in 1932. By the stop of the 1930s, Brent was one of the studio'due south most dependable leading men, and in 1939, he had two of his best roles. In Dark Victory, he played the doc who diagnoses Bette Davis' inoperable brain tumor, falls in love with her, and makes her last days the happiest of her life. On loanout to Play a trick on in The Rains Came, playing a dissolute expatriate who rises to heroism in alluvion-ravaged India, Brent earned better reviews than the top billed star, Tyrone Power.
Merle Oberon was fresh from a triumph of her own, every bit Cathy in Samuel Goldwyn'south product of Wuthering Heights (1939), directed by William Wyler. Hungarian producer Alexander Korda, who worked in London, had discovered Oberon in the early on 1930s, and put her nether contract. In 1935, Korda agreed to share Oberon's contract with Goldwyn, and Oberon alternated betwixt making films in England and in Hollywood. In 1939, Oberon returned to Europe and married Korda. Soon later on, war bankrupt out, and since she had been unable to reach an agreement on a new contract with Goldwyn, Oberon accepted an offer from Warner Bros. and returned to America. Marlene Dietrich had originally been bandage as the dying socialite in 'Til We Run across Again, but when she backed out information technology became Oberon's first motion picture at Warner Bros.
Oberon and Brent were in good hands with managing director Edmund Goulding, a British born former stage histrion, writer, director and opera singer, who had begun his moving-picture show career equally a writer at MGM in 1925. Goulding was known for his skill with melodrama, and his skillful handling of such actresses every bit Davis, Garbo, Norma Shearer, and Joan Crawford. But he besides worked well with actors, every bit he proved with the all-star casts of Grand Hotel (1932) and, after moving to Warner Bros., The Dawn Patrol (1938). In 'Til Nosotros Meet Once again, Goulding too had an fantabulous bandage. Irish gaelic actress Geraldine Fitzgerald had received critical acclaim for potent performances in her commencement two American films in 1939: as Isabella in Wuthering Heights, and equally Davis' supportive friend in Dark Victory. Pat O'Brien was one of the stalwarts of Warner Bros.' "Irish Mafia," as was Frank McHugh, who reprised his role of an affable pickpocket from One Way Passage. Binnie Barnes played a fellow con creative person.
The critics, a notoriously contemptuous lot, warned filmgoers that 'Til Nosotros Come across Again would manipulate their emotions merely as One Fashion Passage had...and that they'd like being manipulated. "The psychology of the unhappy ending has seldom been used to improve advantage than information technology is by Warner Brothers in [this] sad romanza," wrote B.R. Crisler in the New York Times. Noting that the Times had called Ane Style Passage "quite satisfactory amusement," he added that 'Til Nosotros Meet Over again "may still very well strike many persons as, if not 'quite' satisfactory, at any rate at least as fairly satisfactory entertainment."
Director: Edmund Goulding
Producer: Edmund Goulding (uncredited)
Associate Producer: David Lewis
Screenplay: Warren Duff, Based on a story by Robert Lord
Cinematography: Tony Gaudio
Editor: Ralph Dawson
Costume Design: Orry-Kelly
Art Direction: Robert Haas
Music: Heinz Roemheld (uncredited)
Cast: Merle Oberon (Joan Ames), George Brent (Dan Hardesty), Pat O'Brien (Steve Burke), Geraldine Fitzgerald (Bonnie Coburn), Binnie Barnes (Countess de Vaubert), Frank McHugh (Achilles Peddicord), Eric Blore (Sir Harold Landamuir), George Reeves (Jimmy Coburn).
BW-100m. Closed captioning.
by Margarita Landazuri
'Til Nosotros Meet Again
For most of his career, George Brent was a leading homo whose function oftentimes seemed to be to provide solid - and sometimes stolid - support to such female stars as Bette Davis, Kay Francis, and Greta Garbo. Rarely did he get a chance to shine as brightly every bit his leading ladies. In the romantic melodrama 'Til Nosotros Meet Again (1940), however, Brent and Merle Oberon are true co-stars playing doomed lovers who come across as they're boarding a send leap from Hong Kong to San Francisco. No wonder the film -- a remake of ane of the nigh fondly remembered romances of the 1930s, One Way Passage (1932), which starred William Powell and Kay Francis as the lovers -- was one of Brent's favorites. Brent plays a criminal who'south headed for the electric chair at San Quentin. Oberon is dying of heart affliction. The lovers continue their secrets from each other, with the aid of the policeman who's transporting Brent'southward character (Pat O'Brien), and a sympathetic friend (Geraldine Fitzgerald). The Irish-born Brent'due south colorful past included an apprenticeship at Dublin'due south prestigious Abbey Theatre, a stint as a messenger for the Irish Republican Army, and a smuggled escape by send to Canada with a price on his head. Later theater work in Canada and the U.S. and some small-scale roles on Broadway, Brent fabricated his way west, where Warner Bros. signed the tall, dark and handsome Irishman to a contract in 1932. By the terminate of the 1930s, Brent was one of the studio's most undecayed leading men, and in 1939, he had ii of his all-time roles. In Night Victory, he played the dr. who diagnoses Bette Davis' inoperable encephalon tumor, falls in love with her, and makes her last days the happiest of her life. On loanout to Fox in The Rains Came, playing a dissolute expatriate who rises to heroism in inundation-ravaged India, Brent earned better reviews than the top billed star, Tyrone Power. Merle Oberon was fresh from a triumph of her ain, as Cathy in Samuel Goldwyn's production of Wuthering Heights (1939), directed by William Wyler. Hungarian producer Alexander Korda, who worked in London, had discovered Oberon in the early 1930s, and put her under contract. In 1935, Korda agreed to share Oberon's contract with Goldwyn, and Oberon alternated between making films in England and in Hollywood. In 1939, Oberon returned to Europe and married Korda. Shortly after, war broke out, and since she had been unable to reach an agreement on a new contract with Goldwyn, Oberon accepted an offering from Warner Bros. and returned to America. Marlene Dietrich had originally been cast as the dying socialite in 'Til We Encounter Again, but when she backed out information technology became Oberon'south first motion-picture show at Warner Bros. Oberon and Brent were in practiced easily with manager Edmund Goulding, a British born former stage actor, writer, manager and opera singer, who had begun his film career equally a writer at MGM in 1925. Goulding was known for his skill with melodrama, and his expert handling of such actresses as Davis, Garbo, Norma Shearer, and Joan Crawford. But he also worked well with actors, as he proved with the all-star casts of M Hotel (1932) and, after moving to Warner Bros., The Dawn Patrol (1938). In 'Til Nosotros See Once more, Goulding also had an fantabulous bandage. Irish gaelic actress Geraldine Fitzgerald had received critical acclamation for strong performances in her outset two American films in 1939: every bit Isabella in Wuthering Heights, and as Davis' supportive friend in Dark Victory. Pat O'Brien was one of the stalwarts of Warner Bros.' "Irish Mafia," as was Frank McHugh, who reprised his role of an affable pickpocket from One Way Passage. Binnie Barnes played a fellow con artist. The critics, a notoriously contemptuous lot, warned filmgoers that 'Til We Meet Again would manipulate their emotions just as One Way Passage had...and that they'd similar being manipulated. "The psychology of the unhappy ending has seldom been used to better advantage than it is by Warner Brothers in [this] sorry romanza," wrote B.R. Crisler in the New York Times. Noting that the Times had called One Way Passage "quite satisfactory entertainment," he added that 'Til We Meet Once more "may withal very well strike many persons as, if non 'quite' satisfactory, at any rate at to the lowest degree as fairly satisfactory entertainment." Managing director: Edmund Goulding Producer: Edmund Goulding (uncredited) Associate Producer: David Lewis Screenplay: Warren Duff, Based on a story by Robert Lord Cinematography: Tony Gaudio Editor: Ralph Dawson Costume Design: Orry-Kelly Art Direction: Robert Haas Music: Heinz Roemheld (uncredited) Cast: Merle Oberon (Joan Ames), George Brent (Dan Hardesty), Pat O'Brien (Steve Shush), Geraldine Fitzgerald (Bonnie Coburn), Binnie Barnes (Countess de Vaubert), Frank McHugh (Achilles Peddicord), Eric Blore (Sir Harold Landamuir), George Reeves (Jimmy Coburn). BW-100m. Closed captioning. by Margarita Landazuri
Geraldine Fitzgerald (1913-2005)
Geraldine Fitzgerald, the Irish born actress who, long in America, distinguished herself as a young ingenue in motion-picture show classics like Wuthering Heights and later as a first-rate character actor in hits such as Arthur, died on July 16 in her Manhattan dwelling, succumbing to a long battle with Alzheimer's disease. She was 91.
Built-in in Dublin on November 24, 1913, Fitzgerald was educated for a time in a convent school in London. Back in her native Dublin, she happily accompanied her aunt, the Irish gaelic actress Shelah Richards, to a theater i afternoon when the manager mistook her for an actress, and instructed her "to become backstage and change." An inauspicious start, but information technology gave her the acting bug. She fabricated her phase debut in 1932 in Dublin's Gate Theater and later appeared in a few forgettable British films: Open All Dark (1934), The Ace of Spades, Iii Witnesses (both 1935). She made the trip across the Atlantic in 1938 to act with Orson Welles and his Mercury Theater, simply agents from Warner Bros. speedily signed her and she was soon off to Hollywood.
She made her motion picture debut in 1939 supporting Bette Davis in Dark Victory, but information technology was her functioning in a 2nd film later on in the year that proved to be the most memorable of her career - the part of Isabella Linton in Wuthering Heights. She earned an Oscar® nomination for her turn and stardom should take been around the corner, just Fitzgerald'southward feuding with studio caput Jack Warner (he refused to allow her return to the New York phase and she would refuse parts that she thought were inferior) led to some lengthy suspensions of unemployment. Irregardless, Fitzgerald notwithstanding had some shining moments at Warner Bros. the exciting melodrama The Gay Sisters (1942); the superb espionage thriller Lookout on the Rhine (1943); Robert Siodmak's terrific, noirish thriller The Strange Affair of Uncle Harry (1945); and a tough criminal offence drama where she played reverse John Garfield Nobody Lives Forever (1946).
Fitzgerald returned to New York by the '50s, and found much piece of work in many of the live television dramas that were and then pop in the day: Goodyear Television Playhouse, Lux Video Theatre, Studio One, Schlitz Playhouse of Stars; and even some taped tv set shows: Naked City, Alfred Hitchcock Presents in between her stage demands.
She did render to the screen by the mid-'60s and proved herself a fine character actress in films like The Pawnbroker (1965); Rachel, Rachel (1968); Harry and Tonto (1974); a wonderfully memorable comic turn equally Dudley Moore's feisty grandmother in Arthur (1981); and yet another noteworthy performance as Rose Kennedy in the acclaimed mini-series Kennedy (1983). She also appeared in a few television programs: St. Elswhere, Cagney & Lacey, and The Golden Girls before ill-health forced her to retire past the early '90s. Amongst the relatives that survive her are her son, managing director Michael Lindsay-Hogg (Brideshead Revisited; a daughter, Susan Scheftel; and her peachy-niece, the English actress Tara Fitzgerald.
by Michael "Mitch" Toole
Geraldine Fitzgerald (1913-2005)
Geraldine Fitzgerald, the Irish born actress who, long in America, distinguished herself as a young ingenue in film classics like Wuthering Heights and afterward as a first-rate graphic symbol player in hits such as Arthur, died on July xvi in her Manhattan abode, succumbing to a long battle with Alzheimer's disease. She was 91. Built-in in Dublin on November 24, 1913, Fitzgerald was educated for a time in a convent schoolhouse in London. Back in her native Dublin, she happily accompanied her aunt, the Irish gaelic actress Shelah Richards, to a theater one afternoon when the director mistook her for an actress, and instructed her "to go backstage and change." An inauspicious start, but it gave her the acting bug. She made her phase debut in 1932 in Dublin's Gate Theater and later appeared in a few forgettable British films: Open All Nighttime (1934), The Ace of Spades, Three Witnesses (both 1935). She made the trip across the Atlantic in 1938 to act with Orson Welles and his Mercury Theater, but agents from Warner Bros. quickly signed her and she was soon off to Hollywood. She fabricated her motion-picture show debut in 1939 supporting Bette Davis in Night Victory, but it was her functioning in a second film later in the twelvemonth that proved to be the near memorable of her career - the role of Isabella Linton in Wuthering Heights. She earned an Oscar® nomination for her plough and stardom should have been around the corner, just Fitzgerald's feuding with studio head Jack Warner (he refused to permit her render to the New York stage and she would refuse parts that she thought were junior) led to some lengthy suspensions of unemployment. Irregardless, Fitzgerald still had some shining moments at Warner Bros. the heady melodrama The Gay Sisters (1942); the superb espionage thriller Spotter on the Rhine (1943); Robert Siodmak's terrific, noirish thriller The Strange Thing of Uncle Harry (1945); and a tough crime drama where she played contrary John Garfield Nobody Lives Forever (1946). Fitzgerald returned to New York past the '50s, and found much work in many of the live television dramas that were so pop in the day: Goodyear Television Playhouse, Lux Video Theatre, Studio One, Schlitz Playhouse of Stars; and even some taped television shows: Naked City, Alfred Hitchcock Presents in between her stage demands. She did render to the screen past the mid-'60s and proved herself a fine character extra in films like The Pawnbroker (1965); Rachel, Rachel (1968); Harry and Tonto (1974); a wonderfully memorable comic turn as Dudley Moore'southward feisty grandmother in Arthur (1981); and yet some other noteworthy performance as Rose Kennedy in the acclaimed mini-series Kennedy (1983). She besides appeared in a few television programs: St. Elswhere, Cagney & Lacey, and The Golden Girls earlier ill-health forced her to retire past the early '90s. Amid the relatives that survive her are her son, manager Michael Lindsay-Hogg (Brideshead Revisited; a daughter, Susan Scheftel; and her dandy-niece, the English language actress Tara Fitzgerald. by Michael "Mitch" Toole
Quotes
Trivia
Illness caused managing director Edmund Goulding to be replaced for much of the pic. Anatole Litvak shot approximately 26% of the film, William Keighley 4%, and William Grand. Howard shot a few retakes. Goulding shot lxx% of the picture show around bouts of pneumonia.
Pregnancy acquired 'Fitzgerald, Geraldine' to miss several shooting days. A double was used where possible.
Notes
The working title of this film was We Shall Meet Again. Warner's 1932 film One Mode Passage was as well based on the Robert Lord story.
Source: https://www.tcm.com/tcmdb/title/1509/til-we-meet-again
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