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.