While melodrama has been very variable in film and television history, with a mix of very moving and sometimes tense and also too soapy and over-heated in the case of others. Rock Hudson was always a likeable actor, especially in romantic comedies, and George Sanders has always been a favourite of mine since his voice work in 'The Jungle Book'. Being one of the best at that time at being cads and villains and possessors of one of the most distinctive and beautiful speaking voices in film.
'Never Say Goodbye' was something of an uneven film to me. There are a fair share of good things, including one particularly great performance, but also an equal fair share of shortcomings, including most of the traps melodramas have fallen in a number of times. 'Never Say Goodbye' is a long way from a bad film, there are far worse films out there including this type of film. It is also a long way from great and too much of a mixed bag for me to consider it particularly good.
The best aspects are the production values and the acting. The film still looks very handsome and ravishingly shot in Technicolor, while uncredited Douglas Sirk's contribution is skillful enough. The music is haunting and not too overwrought. Some of the film is poignant, especially the more tragic elements of the story.
Of the performances, Sanders comes off best, have always found it interesting when actors that specialises in a certain type of role go against type and pull it off equally as well as their usual roles. Sanders' character is a far cry from his caddish and villainous roles that he was known for, he has seldom been more sympathetic (even in 'Call Me Madam', another atypical role that he did beautifully) and noble and it comes off beautifully. Cornell Borchers (an unfamiliar name) also comes off beautifully and is very touching. Shelley Fabares is affecting as the daughter. Hudson's performance is uneven, much of it being down to how his character is written, but when his character isn't a jerk he is charming and dashing.
However, there are things that don't come off particularly well. When made to behave like a jerk, Hudson didn't seem comfortable with it and was out of his depth and the character's jealousy doesn't seethe. At times it seemed too melodramatic, at other points it was too reserved. The chemistry between him and Borchers varied as well, it was charming to begin with but loses its sparkle and becomes bland later on (was also rooting for her character to leave him). The direction fares similarly, Sirk's contribution shows how he was one of the few directors to play to Hudson's strengths and understand them whereas Jerry Hopper's direction was undistinguished with little of the hold no barrels approach that the film would have benefitted from.
Furthermore, the script manages to be both over-heated and under-nourished, lots of soap and syrup overdose but no substance underneath. The story becomes too excessively melodramatic and over-heated, as well as lacking in passion and rather dully paced. The characters became a lot less easy to care for and why Borchers' character would find any appeal in him later didn't come over as realistic.
Summarising, very mixed feelings here. 5/10.
'Never Say Goodbye' was something of an uneven film to me. There are a fair share of good things, including one particularly great performance, but also an equal fair share of shortcomings, including most of the traps melodramas have fallen in a number of times. 'Never Say Goodbye' is a long way from a bad film, there are far worse films out there including this type of film. It is also a long way from great and too much of a mixed bag for me to consider it particularly good.
The best aspects are the production values and the acting. The film still looks very handsome and ravishingly shot in Technicolor, while uncredited Douglas Sirk's contribution is skillful enough. The music is haunting and not too overwrought. Some of the film is poignant, especially the more tragic elements of the story.
Of the performances, Sanders comes off best, have always found it interesting when actors that specialises in a certain type of role go against type and pull it off equally as well as their usual roles. Sanders' character is a far cry from his caddish and villainous roles that he was known for, he has seldom been more sympathetic (even in 'Call Me Madam', another atypical role that he did beautifully) and noble and it comes off beautifully. Cornell Borchers (an unfamiliar name) also comes off beautifully and is very touching. Shelley Fabares is affecting as the daughter. Hudson's performance is uneven, much of it being down to how his character is written, but when his character isn't a jerk he is charming and dashing.
However, there are things that don't come off particularly well. When made to behave like a jerk, Hudson didn't seem comfortable with it and was out of his depth and the character's jealousy doesn't seethe. At times it seemed too melodramatic, at other points it was too reserved. The chemistry between him and Borchers varied as well, it was charming to begin with but loses its sparkle and becomes bland later on (was also rooting for her character to leave him). The direction fares similarly, Sirk's contribution shows how he was one of the few directors to play to Hudson's strengths and understand them whereas Jerry Hopper's direction was undistinguished with little of the hold no barrels approach that the film would have benefitted from.
Furthermore, the script manages to be both over-heated and under-nourished, lots of soap and syrup overdose but no substance underneath. The story becomes too excessively melodramatic and over-heated, as well as lacking in passion and rather dully paced. The characters became a lot less easy to care for and why Borchers' character would find any appeal in him later didn't come over as realistic.
Summarising, very mixed feelings here. 5/10.