TO EACH HIS OWN is in that category of woman's films dealing with a mother who loses her child for social or economic reasons. So it is in the same group as MADAME X (in all it's versions) or STELLA DALLAS. But it is little better than a superior weeper. Mitchell Leisin was a director with taste and ability, frequently given run-of-the-mill assignments, and sometimes given important films that were taken from him and mangled (LADY IN THE DARK). But when given a sensible property like EASY LIVING or HOLD BACK THE DAWN he turned in one really good result of a film.
In 1941 Leisin had directed Olivia De Haviland in HOLD BACK THE DAWN, a film about European immigrants in a Mexican/American border town like Tijuana, who were hoping to figure out how to finally achieve permission to come into the U.S. and become citizens. De Haviland played an American school teacher who is swept off her feet by a calculating gigolo (Charles Boyer) and ends marrying him (which is how he plans to become an American citizen). Her performance was well done, and she got nominated for the Best Actress Oscar of that year. Unfortunately, her sister Joan Fontaine was also nominated for SUSPICION.
Fontaine was on a personal high at that time, as she had been the star of Hitchcock's film REBECCA the year before, and now that great director directed her in this second film. The news media built up the rivalry between the two sisters, probably out of nothing in particular. As it turned out, the result was good for Fontaine but bad for De Haviland. And a breach apparently did develop between the sisters (if it had not been there before).
But in 1946 Leisin got a second chance to direct De Haviland. Here she was Jody Norris, the daughter of a pharmacist in a New York State small town. In 1917 her town is visited by a pilot (John Lund) who is on a bond selling tour for the war effort. Lund and De Haviland hit it off in the brief time they are together, and have a very passionate love affair. But he has to return to the front. He leaves and she soon finds she is pregnant. Then she hears he is killed in the war. De Haviland decides (with the advice of her father) to have the baby away from the town, and then to arrange for it to be deposited on the doorstep of a poor family who have too many children. Her intention is to come by with her father, find the family can't afford to have another baby to feed, and offer to adopt the baby so they can avoid a scandal and keep the child.
Unfortunately the best laid schemes fall apart - De Haviland's rival, a wealthy snob (Mary Anderson) had married one of De Haviland's boyfriends (Philip Terry) but had lost their child. Terry hears about the foundling, and beats De Haviland and her father to the poor family's house. He and Anderson adopt the baby. And De Haviland's sad heartbreak begins. She can't (as her wise father - Griff Barnett - points out) make a scene about her rights to adopt the foundling without making everyone aware that she must be the mother. If she does it will bring shame down on the baby boy.
In the course of the film, De Haviland tries, over the years, to remain as close as possible to the baby as she can. Unfotunately Anderson keeps thinking that Terry is actually keeping sexual relations with De Haviland. Soon she is forbidden the house. Later she tries economic pressures, but with even less success - the baby has grown into the loyal little son of Anderson, and rebels against De Haviland's encroachment.
The script of Charles Brackett & Jacques Thery allows De Haviland to show more than heartbreak. She has been her father's assistant in the drugstore, and she puts this to use in building up a cosmetic empire (like Helena Rubenstein's). Also Anderson and Terry face financial problems, as Anderson's father manufactured player pianos - which are going out of favor in the depression. This briefly gives De Haviland her financial pressure on them to try to take Gregory ("Griggsy") - her son - back. And it does not work.
Still, De Haviland keeps tabs on her son. She has moved to England as she got wealthier, and the surrounding framework of the film shows her as a fire-watcher with a nobleman, Lord Desham (Roland Culver). They narrowly have a fatal accident, and when they are together having dinner we learn the story - and that she has a chance (she thinks) of seeing her son again before he is shipped to the front. Will she see him or not? De Haviland's role gave her scope to show heartbreak and to show sense and to show overreaching. It was a marvelous part. Leisin's direction gave her every opportunity, and he brought out the best in the supporting cast - and the over-the-years review of events like the rise of women in business, prohibition, the Depression, and the Wars helped the film too. De Haviland got nominated for an Oscar for best actress for TO EACH HIS OWN in 1946 - and this time she won. She would repeat her success in a few years with THE HEIRESS as well.
In 1941 Leisin had directed Olivia De Haviland in HOLD BACK THE DAWN, a film about European immigrants in a Mexican/American border town like Tijuana, who were hoping to figure out how to finally achieve permission to come into the U.S. and become citizens. De Haviland played an American school teacher who is swept off her feet by a calculating gigolo (Charles Boyer) and ends marrying him (which is how he plans to become an American citizen). Her performance was well done, and she got nominated for the Best Actress Oscar of that year. Unfortunately, her sister Joan Fontaine was also nominated for SUSPICION.
Fontaine was on a personal high at that time, as she had been the star of Hitchcock's film REBECCA the year before, and now that great director directed her in this second film. The news media built up the rivalry between the two sisters, probably out of nothing in particular. As it turned out, the result was good for Fontaine but bad for De Haviland. And a breach apparently did develop between the sisters (if it had not been there before).
But in 1946 Leisin got a second chance to direct De Haviland. Here she was Jody Norris, the daughter of a pharmacist in a New York State small town. In 1917 her town is visited by a pilot (John Lund) who is on a bond selling tour for the war effort. Lund and De Haviland hit it off in the brief time they are together, and have a very passionate love affair. But he has to return to the front. He leaves and she soon finds she is pregnant. Then she hears he is killed in the war. De Haviland decides (with the advice of her father) to have the baby away from the town, and then to arrange for it to be deposited on the doorstep of a poor family who have too many children. Her intention is to come by with her father, find the family can't afford to have another baby to feed, and offer to adopt the baby so they can avoid a scandal and keep the child.
Unfortunately the best laid schemes fall apart - De Haviland's rival, a wealthy snob (Mary Anderson) had married one of De Haviland's boyfriends (Philip Terry) but had lost their child. Terry hears about the foundling, and beats De Haviland and her father to the poor family's house. He and Anderson adopt the baby. And De Haviland's sad heartbreak begins. She can't (as her wise father - Griff Barnett - points out) make a scene about her rights to adopt the foundling without making everyone aware that she must be the mother. If she does it will bring shame down on the baby boy.
In the course of the film, De Haviland tries, over the years, to remain as close as possible to the baby as she can. Unfotunately Anderson keeps thinking that Terry is actually keeping sexual relations with De Haviland. Soon she is forbidden the house. Later she tries economic pressures, but with even less success - the baby has grown into the loyal little son of Anderson, and rebels against De Haviland's encroachment.
The script of Charles Brackett & Jacques Thery allows De Haviland to show more than heartbreak. She has been her father's assistant in the drugstore, and she puts this to use in building up a cosmetic empire (like Helena Rubenstein's). Also Anderson and Terry face financial problems, as Anderson's father manufactured player pianos - which are going out of favor in the depression. This briefly gives De Haviland her financial pressure on them to try to take Gregory ("Griggsy") - her son - back. And it does not work.
Still, De Haviland keeps tabs on her son. She has moved to England as she got wealthier, and the surrounding framework of the film shows her as a fire-watcher with a nobleman, Lord Desham (Roland Culver). They narrowly have a fatal accident, and when they are together having dinner we learn the story - and that she has a chance (she thinks) of seeing her son again before he is shipped to the front. Will she see him or not? De Haviland's role gave her scope to show heartbreak and to show sense and to show overreaching. It was a marvelous part. Leisin's direction gave her every opportunity, and he brought out the best in the supporting cast - and the over-the-years review of events like the rise of women in business, prohibition, the Depression, and the Wars helped the film too. De Haviland got nominated for an Oscar for best actress for TO EACH HIS OWN in 1946 - and this time she won. She would repeat her success in a few years with THE HEIRESS as well.