I don't have all the words right now but this film is a work of art.

Great Film overall

As Good As It Gets

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Really enjoy Barbara Stanwyck and will watch any movie she's in. She can shore up even the most humdrum potboiler with her acting talent and make any picture better. Her mettle was tested in "Always Goodbye", a picture with nothing new to add to the romance genre, and she did the best she could. Alas, she was done in by a flat script and uninspired dialogue and despite an excellent support cast, featuring Herbert Marshall, Ian Hunter, Caesar Romero and Lynn Bari, among others. I'm not sure anything short of a rewrite could save this rehash of many other similarly themed pictures.This picture was shown in error at Film Forum in NYC; The 1931 film with the same name was supposed to be shown but somehow this was substituted. Right now I would rather have seen the older one. Sight unseen, I'll bet it was better than this plodding trudge through the landscape.

Barbara Stanwyck gives an admirable charming performance as a young woman who survives a personal and emotional tragedy, and triumphs in the end. This film could have been very heavy melodrama, but the story is uplifted with some well placed comedy played exuberantly by Cesar Romero. Herbert Marshall is outstanding in his portrayal of the kind and sympathetic friend who helps Stanwyck's character to overcome and flourish. Most delightful is child actor Johnny Russell, who plays Roddy, the little boy Stanwyck had to give up at birth. The playfulness between Stanwyck and Russell is very sweet, genuine and adorable to watch. Binnie Barnes, Lynn Bari and Ian Hunter all play their roles adequately. Barbara Stanwyck is very beautiful and as always manages to shine through this routine melodrama, with its twists and turns, it is her performance which produces a most touching story. A full synopsis of this film would spoil it for the reader, and although the story may feel a little dated now, it is still a must see for all die-hard Barbara Stanwyck fans, and is also an excellent example for those who love films from the 1930s.

I just recently read someone's comment about another movie from the 1930s (don't remember which), to the effect that movies from that era tended to be good but 'slow paced.' Watching ALWAYS GOODBYE brought that comment to mind because of how untrue that assessment is of it. I was kind of amazed at how much story and time were covered within the first 12 minutes (and that's including the credits); no time wasted, and all clear. I won't go over the story, to avoid spoilers, but will say the characters were very well made, acted well, and I cared about them (or, in one case, disliked that one pretty intensely). All in all, I recommend this movie pretty highly. The ending was what knocked my rating of it down a bit (from an eight to a seven) All the actors were good in this. Barbara Stanwyck really is lovely, softer than many of her roles allowed (though subtly tough, when she needs to be), and Herbert Marshall is so sympathetic (and handsome), you can't help but root for him to get what he wants. Johnny Marshall, as the little boy, is just charming and (to me, at least) not grating as some kid actors could be. While the humor provided by Cesar Romero's character was perhaps slightly over the top, it was welcome, and he was undeniably handsome. As another reviewer pointed out, he was also a hell of a dancer, and Stanwyck looked like one too, in his arms. Lynn Bari was excellently effective. Binnie Barnes was fine, with not a whole lot to do, given her talents, and Ian Hunter the same. There was even the luxury casting of Franklin Pangborn in a tiny role. I was interested in the Short French conversation between Romero and character actor Ben Weldon, as to whether they both actually spoke the language. Their lips seemed to move precisely with the words, in any case.SPOILERS BELOW!!!! SPOILERS BELOW!!!: SPOILERS BELOW!!! The only real problem I had with this movie was the ending. As in so many movies, one grows frustrated that open, honest, truth-telling conversation is apparently so out of the question. I felt there was another way for all to retain honor and kindness, and bring a different outcome. I know we're meant to see it as Stanwyck's character being noble and, in a way, making a great sacrifice (though in another way, not at all--arguably, being selfish; one could see her motives at the end as really equating, in a way, to those of Lynn Bari's character). Marshall's character, too, is meant to be sacrificing for an honorable cause, but I feel the cause is all wrong for both of them, and honesty would serve better. Given the situation (Hunter's character knowing the basic fact of his son's background, and his wife having been dead for some time), I don't think it would have broken his heart to know the rest of the story. Also, Stanwyck marrying him is setting up a very bad situation, which doesn't have to be. And his sudden declaration of love, having barely gotten to know Stanwyck's character, and having only just gotten out of an engagement, makes me doubt the importance and veracity of his love. Better to be honest with him, about everything, and work things out. And, yes, I know times were different, but even so, this seems doable in that context. Besides all that, there is the matter of Stanwyck's original intended's family, and whether it was fair not to let them know about the child. Anyway, still a worthwhile, quality movie.

The thirties were a good time for melodrama,par excellence the female movie.In almost all the great melodramas of the era "Imitation of life" and " Only Yesterday" by Stahl or "Mannequin" by Borzage ,the woman realizes she's through with love and she becomes generally a brilliant business woman,be it in the pancakes ,the stock exchange or the chic fashion for selfish ladies who do not think twice when it comes to sending their soon-to-be adoptive child to a military school.Routine situation in melodrama:Stanwyck's fiancé got run over and she is pregnant by him.In those ancient times,the only solution was to find a family where the child would be fine .But some fine day ,in old France,the mother meets again his little boy.Barbara Stanwyck gives a fine sensitive (and a bit mischievous:the way she gets rid of Jessica is delightful)portrayal .In the end, somehow or other, woman must be prepared to sacrifice something.That's the golden rule of melodrama.Like this?try these"The old maid " Edmund Goulding 1939 "To each his own" Mitchell Leisen 1946