Cast & Crew
World renowned concert pianist Karen Duncan arrives at Mount Vierge, a Swiss mountain sanitarium, for a rest cure, unaware that her lung illness is terminal. She soon falls in love with her doctor, Antony Stanton, but his strict enforcement of sanitarium rules causes her to believe he has no heart. One day while driving into the local village to do some shopping, Karen runs into a roadster belonging to playboy and racecar driver Paul Clermont. Paul immediately invites Karen to the races and dinner in Monte Carlo. In town, Karen meets fellow patient Celestine, and together they affirm the exhilaration they feel being freed from the sanitarium. Later, when Karen explains her "epiphany of wellness" to Tony, he warns her not to return to the village, but to rest. Furious at Tony's unromantic bedside manner, Karen flees to the village to meet Paul. After he asks her to run away with him and travel around the world, she returns to the sanitarium for her luggage and learns that Celestine died that evening from a sudden hemorrage. Frightened for her life, Karen demands the truth about her condition from Tony, who tells her she must become an automaton for a time if she expects to survive. He also confesses his love, but she does not believe him, and runs to town to meet Paul. They travel to Monte Carlo in the night, and she spends the ensuing weeks staying up late, drinking, smoking and gambling. Whenever Karen has a bad coughing spell, she takes a pill, then resumes her fast pace with Paul. Soon she is feverish and losing weight. Tony locates them and appeals to Paul to take Karen to a climate that won't kill her. Later, during a ship party, Paul tells Karen that he spoke to her doctor and is taking her to Egypt. Embarrassed by his pity, Karen, who has run out of pills, goes to town in the rain. A croupier recognizes her and tries to molest her, but she pleads for help and gives him a diamond ring from Paul as payment for transportation back to Mount Vierge. Tony receives her tenderly and places her in intensive care. Paul soon arrives at the sanitarium, but finding Karen critically ill, leaves her in the doctor's hands. Later, Tony proposes to Karen, and they marry, taking up residence in his cozy cabin adjacent to the sanitarium. One day, as snow falls outside, Tony plays a concerto on the piano as a weak Karen listens, dreaming of the day she will be well again.
Edward G. Boyle
Joseph C. Gilpin
Max M. Hutchinson
Marion Herwood Keyes
Edward P. Lambert
Robert H. Moreland
Dr. Andrew Nagy
Erich Maria Remarque
The Other Love
The Other Love was the second film made (but the first released) by Enterprise Productions, an independent production company founded in 1945 by David Loew (son of MGM founder Marcus Loew), and former Warner Bros. publicity chief David Einfield. According to The Other Love director Andre De Toth's memoir, Loew and Einfeld wanted "to make high-quality motion pictures with a different approach." De Toth, a one-eyed Hungarian, also directed Enterprise's first film, a western, Ramrod (1947), although he had never directed a western before. He was impressed that the Enterprise offices were elegantly and expensively furnished, that call times were at a civilized 10:30 a.m., and that every evening at 5:15, a uniformed butler wheeled in a trolley filled with champagne, caviar, foie gras and other delicacies and fine liquors.
Stanwyck was one of few stars of the 1930s and 40s who never had an exclusive contract with any one studio during her career, so it wasn't surprising that she made a film for Enterprise. Like almost everyone who ever worked with her, De Toth was in awe of her professionalism and dedication. For the soundtrack, renowned concert pianist Ania Dorfman recorded the classical pieces that Stanwyck's character "played" in the film, and also coached Stanwyck so she could match her actions to Dorfman's playing on the soundtrack. De Toth, whose office was across from Stanwyck's bungalow on the lot, recalled that Stanwyck practiced the piano three hours a day for a month to get it right. When he finally could no longer bear the noise, he gave her a silent keyboard to use. "At the end, she herself could play the relevant pieces," he told Ella Smith, who wrote a book about Stanwyck's career.
Part of Enterprise's "different approach" on The Other Love was to shoot some of the Alps sequences at least partly on location at Mount Wilson, outside of Los Angeles, a rarity in those days when almost everything was shot on the back lot. The location and studio footage are expertly blended in The Other Love, and in one scene, it's clear that Stanwyck performed one of her own stunts on location. It happens in the scene where she meets the racing driver. She is driving a horse and carriage along a mountain road, when a race car suddenly darts out from an adjacent road, causing her horse to rear up. During rehearsal for the scene, Stanwyck's stunt double was slightly injured. The star went to the director and told him that the stunt was dangerous, and that the stuntwoman should be paid extra. He agreed, but when they shot the first take, De Toth saw, to his horror, that it was actually Stanwyck in the carriage. That take was used in the film, and the stuntwoman received quadruple pay anyway. And Stanwyck began to perform more and more of her own stunts, particularly in the westerns she made in the 1950s.
De Toth had one final observation: "Stanwyck for me is the softest diamond in the world. The difference between a star and a player is when you have a scene with a star you can let it run just 20 frames longer before you cut. With Barbara you can let it run 24 frames longer."
Over the next two years, Enterprise produced just a handful of films. Although several, including two John Garfield films, Body and Soul (1947) and Force of Evil (1948), and Caught (1949), a film noir directed by Max Ophuls, were critically acclaimed, the company struggled. In the end, another project based on a Remarque work put the final nail in Enterprise's coffin. In 1948, Enterprise took on its biggest project to date, Arch of Triumph, based on Remarque's novel about refugees in prewar Paris, starring Ingrid Bergman and Charles Boyer. It was a troubled production. The film was cut from four hours to two, characters were dropped, and coherence was lost. Release was delayed, the film cost more than four million dollars to make, and only earned two million. The company folded, and its assets were acquired by the Bank of America. At the time, an executive for United Artists, which released Arch of Triumph, called it "probably the greatest commercial failure in the history of motion pictures."
In his review of The Other Love, New York Times critic Bosley Crowther, noting that the film was the first released by Enterprise, wrote, "for the first quarter hour it appears that this new producing outfit is launched on an adult plan....But no sooner do they establish a credible tolerance between [Stanwyck's character] and her high-priced physician than they quit the mountain top, both physically and artistically, and get down to the familiar level of Hollywood." In other words, high-class soap opera, expertly played, and elegantly presented. Stanwyck fans still turned out. The film did well, and Stanwyck and director De Toth went on to many more successes in their long careers.
Producer: David Lewis
Director: André De Toth
Screenplay: Erich Maria Remarque (story); Ladislas Fodor, Harry Brown
Cinematography: Victor Milner
Art Direction: Nathan Juran
Music: Miklós Rózsa
Film Editing: Walter Thompson
Cast: Barbara Stanwyck (Karen Duncan), David Niven (Doctor Anthony Stanton), Richard Conte (Paul Clermont), Gilbert Roland (Croupier), Joan Lorring (Celestine), Lenore Aubert (Yvonne), Maria Palmer (Huberta), Natalie Schafer (Dora Shelton), Edward Ashley (Richard Shelton), Richard Hale (Professor Linnaker)
The Other Love
TCM Remembers Andre de Toth
Born in Mako, Hungary to the son of a civil engineer, De Toth showed an early artistic bent, having his first exhibit of paintings and sculpture at age 14 and seeing his first play produced at age 18. After obtaining his law degree from the University of Budapest, he began acting, writing and working as a cameraman for cinematographer Istvan Eiben. In 1939, he went to England, where he worked as a second unit director for Alexander Korda on The Thief of Bagdad and other films. De Toth immigrated to Hollywood in the early '40s, and worked with Korda on The Jungle Book (1942) and several other films.
He made his Hollywood directing debut with the 1943 feature, Passport to Suez, a propaganda thriller about the Nazis wanting to bomb the Suez Canal.
Impressed with his ability, Harry Cohn, head of Columbia Pictures, put the director under contract for one film and the result, None Shall Escape (1944), launched his Hollywood career. This tense, sensitive drama about a Nazi officer made to examine his actions was fascinating in its structure: Set after the war's end, the film centers around the trial of a Nazi butcher, Wilhelm Grimm (Alexander Knox), in Poland and makes excellent use of flashbacks illustrating the prosecution's testimony to form the bulk of the film. In a way, the film predicted the Nuremberg Trials after the war.
de Toth earned considerable critical acclaim with the taut, intense noir thriller Pitfall (1948) which he co-wrote. Starring Dick Powell, Lizabeth Scott and Raymond Burr, this story of a bored insurance salesman who embarks on an affair because he feels stifled in his picture-perfect home (a devoted wife, son, nice house, successful career, etc.) was striking as one of the first films to examine the American dream gone sour. De Toth followed that with a shared Oscar nomination with William Bowers for Best Original Motion Picture Story for The Gunfighter (1950), a haunting character study of a killer (Gregory Peck) trying to live down his past.
His biggest commercial hit came with House of Wax (1953), the movie that launched Vincent Price's horror film career and is still regarded as the best of all three-dimensional films to be released during that period. Unlike other directors who seemed to be dabbling with a new technique, De Toth emphasized character and plot over the special effects: Price was a sculptor rebuilding his wax figure collection (destroyed by fire) by making statues out of his murder victims. The one-eyed de Toth was an odd choice to helm a 3-D film as he could not experience the stereoscopic process, having lost an eye in his youth, but he persevered and it was the most successful 3-D film of its day.
De Toth followed that hit with some fine films: Crime Wave (1954), a hostage thriller that boasts some fine performances by Sterling Hayden and Gene Nelson and excellent location shooting on the streets of Los Angeles; The Indian Fighter (1955) an exciting Kirk Douglas vehicle about a wagon master leading his train through rough territory that won accolades for depicting the Native Americans with more depth than contemporary directors; and Day of the Outlaw (1959), the stark, stylish, low budget western about an outlaw (Burl Ives) and his gang taking over taking a small town and matching wits with one of its citizens (Robert Ryan). For many, this film best articulated many of the recurring themes in De Toth's work that would be evaluated only decades later by film scholars: survival, betrayal, the capacity for evil and complexities of human relationships.
In the early sixties film work became increasingly scarce for De Toth and he found himself relegated to directing for television: Maverick, 77 Sunset Strip and The Westerner. Tired of the limitations he was finding in Hollywood, De Toth headed to Europe in the '60s, where he found work as an uncredited consultant and location scout on David Lean's extravagant Lawrence of Arabia (1962). He directed a few films abroad, the best of which was the World War II action film Play Dirty (1968), starring Michael Caine, and then he more or less retired from active filmmaking. It was not until recently that De Toth began to receive critical recognition for his entertaining body of work. The last few years have seen several retrospectives and he enjoyed a renewed popularity at film festivals from Scotland to San Francisco. His contributions to film were recognized with the 1995 life achievement prize by the Los Angeles Film Critics Association and the publication of his autobiography, Fragments: Portraits From the Inside, as well as an interview book, De Toth on De Toth, by Anthony Slide. De Toth was married for a time to Veronica Lake (1944-1952) with whom he had two children. He is survived by his wife, Ann Green.
by Michael T. Toole
TCM Remembers Andre de Toth
The title card on the viewed print reads: "The David Lewis Production of Erich Maria Remarque's The Other Love." The title of Erich Maria Remarque's unpublished story, which the Variety review noted was semi-autobiographical, was "Beyond." Hollywood Reporter news items add the following information about the production: Robert Stack was first cast as "Paul Clermont" and played the role during the first month of filming. When he became ill with the flu, he was replaced by Richard Conte. Two weeks later, Barbara Stanwyck also became ill, and production was shut down for two weeks. After filming ended, a cutting room fire destroyed 19,000 feet of exposed footage from this and another United Artist's production, Arch of Triumph . Hollywood Reporter news items add Helene Nielsen, Billy Wilkerson, Gertrude Astor, Stuart Holmes, Wyndham Standing, Barry Norton, Jean Acker, Franklyn Farnum, Wilbur Mack, Aloha Wray, Helene Boone, Jean "Babe" London, Blandine Ebinger, Joan Barton, The Chanticleer Singers and The Cajuns to the cast, but their appearance in the final film has not been confirmed.
According to a Hollywood Reporter news item, footage for the film was shot in Switzerland and on the French Riviera. According to a Motion Picture Herald news item, following a preview screening of the film, David Niven re-recorded eight scenes using British enunciations for screening in Great Britain. As reported in Daily Variety, $4,000 in grosses from the London premiere were donated to the Lord Mayor's National Flood Disaster Fund. Although the Variety review claims that Barbara Stanwyck's character dies, she appears to be breathing at the end of the film. Barbara Stanwyck reprised her role for a June 16, 1947 Lux Radio Theatre broadcast, co-starring George Brent.