Smilin’ Through is a pre-Code romantic drama set around the time of World War I. It was a remake of a 1922 silent film and then was remade again, this time centered around World War II, in 1941. The story about love, hatred, and forgiveness is a universal theme that never falls out of fashion and would make for a compelling, if a bit melodramatic, film even today. While the plot of this film isn’t particularly complicated, the themes are and are something we could all take to heart. We could all use a little more forgiveness in our lives, especially if our anger is towards an innocent party who is undeserving of that hatred.
Smilin’ Through is about just such a situation. John Carteret (Leslie Howard) harbors a deep-rooted hatred for Jeremy Wayne (Fredric March). This goes back many years to when John was getting married to his beloved Moonyean (Norma Shearer). During the ceremony, Jeremy, in a fit of jealousy and rage, tried to shoot John to prevent the marriage, only Moonyean stepped between them and took the bullet herself, dying. Now, in his grief, he calls to her and her spirit comes to him, wearing the wedding dress. He doesn’t see her but sometimes can hear her comforting him and telling him to be patient and they will eventually be together again.
In the time since he has become a recluse. His only friend, Dr. Owen (O.P. Heggie), arranges for Moonyean’s recently orphaned niece, Kathleen, to visit and suggests that John adopt her. After some initial hesitations from her, the two form a bond, and he raises her to adulthood. Now grown, Kathleen (Norma Shearer) meets a young man, Kenneth Wayne (Fredric March), the American son of Jeremy, who has just arrived in town on his way to fight in the Great War. She is smitten by the handsome young man, but when news gets to John, he refuses to allow their relationship to continue; his hatred for Jeremy extends to the rest of the family. But even though John forbids her to ever see Kenneth again, her love for him is too great, and she disobeys. But when Kenneth is seriously wounded in the war, he returns home, determined to push her away and spare her the stress of having to take care of a handicapped man.
This is a pre-code picture, but I would be surprised if the Christians of the era had anything to complain about from this. Jesus taught that we should forgive our enemies no matter how grievous the offense they have done to us is. This is a film that embraces that concept, and the one thing holding John back from finding peace and happiness is his unwillingness to forgive. We never get a reconciliation between the two men - Jeremy dies long before the main story takes place - but his son, Kenneth, serves as a surrogate for him, a place to focus John’s anger.
While John continues to allow anger to dictate his actions, he finds himself growing distant from Moonyean’s spirit. He’s miserable and bitter, even getting angry with Kathleen. When he tells her the sad story of Moonyean’s death, Kathleen understands his feelings, but she cannot dismiss her own feelings, either. With her urging, Kenneth approaches John to try and reconcile these feelings and make peace but is rejected outright.
This film uses dual casting as a means to get its message across. Both Moonyean and Kathleen are played by Norma Shearer. Likewise, Fredric March is playing Jeremy as well as his son, Kenneth. Not only does this allow for some symbolism in the direction of John’s affections and prejudices, it also provides a physical resemblance that John latches onto to fuel his strong emotions. It is this attachment that he must rectify in his mind and soul before he can truly be with his beloved Moonyean again.
The choice to utilize the literal spirit of John’s lost love to open and close the film is an interesting one. On the one hand, it provides a powerful representation of the spiritual turmoil he is going through. On the other, though, it is overly melodramatic and feels over-the-top, especially in the final scene when their two souls are reunited again. It’s reminiscent of Les Misérables when Jean Valjean dies and is reunited with the spirits of all who died before him. On one level, it works beautifully, but on another level, it is a blatant attempt to manipulate our emotions.
Smilin’ Through is both a lighthearted affair and a hard look at the effects of bitterness and hatred on our souls. Leslie Howard is a great choice to personify that as he is able to portray kindness and gentleness so well. Because of this on-screen persona, when he is being angry and cold, it feels so foreign to him. We are instinctually rooting for him to come to terms with Kenneth because we see all the good there is in him and how this negative emotion is destroying him. This impression we have of him starts in that opening scene where he is calling out to Moonyean in the garden and is built upon with his interactions with the young Kathleen when they first meet. We hate seeing someone so kind and gentle struggling with these feelings of anger and hatred. Howard effectively conveys both sides to this character, which allows us to be emotionally invested in his internal struggles.
Academy Award Nomination:
Outstanding Production: Irving Thalberg
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Release Date: September 24, 1932
Running Time: 98 minutes
Not Rated
Starring: Norma Shearer, Fredric March, and Leslie Howard
Directed By: Sidney Franklin
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