Although it has its amusing moments, in eneral the plot does not convince.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Charles Boyer is really my favorite leading actor .His performance in the final scene was so touching and impressive.He tried to suppress his anger through smiling and joking but we still feel bitterness in the tone of his voice and deep grief in his eyes. Amazingly he could express his frustration without saying one word of abuse to his lover. I think that no other star in the history of world cinema can ever have such a genuine and subtle performance. when Boyer saw the painting of Terry and realised the whole truth ,his face could reveal the deep sense of shame and regret without uttering one word. In fact Charles Boyer's ability to perform the role of a sincere and dedicated lover is captivating and insuperable. In the remake An Affair To Remember,the effect was less intensive and Charles Boyer and Irene Dunne were really superior and more impressive and there is some differences between the original and the remake.Grant's reaction on seeing Terry's painting was not as deep and impressive as that of Boyer;Grant in the final scene seemed rather angry and investigating Terry in an agressive way and she was nearly humiliated.Boyer on the contrary was quite decent and gentle without hurting his lover's feelings.When Grant's grandmother refers to her hands saying she can't play on the piano,Grant only smiles while holding her hands.Boyer showed deep love and respect when he gently kissed her hands.

The quintessential shipboard romance from Hollywood's Golden Year, 1939, "Love Affair" is less seen, but arguably superior, to its better known remake, 1957's "An Affair to Remember." Although the classy stars of the longer, color remake, Cary Grant and Deborah Kerr, are glamorous and excellent in their own right, the earlier film defines the 1930's Hollywood studio style of film-making and is embellished by sparkling performances from Irene Dunne and Charles Boyer. The larger than life images of Dunne and Boyer glistened on the silver screen and nearly turned it platinum. The story of a French artist-playboy, Michel Marnet, and an American woman, Terry McKay, who meet on a Trans-Atlantic liner en route to New York, is familiar and predictable. Both are compromised to others, and, at voyage's end, they agree to meet six months later atop the Empire State Building and marry if their feelings are unchanged. Maria Ouspenskaya shines as Marnet's grandmother, who appears during a short episode when the ship docks in Madeira.Both Boyer and Dunne are superb, and Dunne displays a fine voice when she sings a couple of songs, including the Academy Award nominated "Wishing." Although both Dunne and Ouspenskaya received well-deserved Oscar nominations, Boyer warranted one as well; the subtle emotions that play across his face, when he slowly searches Dunne's apartment for a significant object and, spotting it, realizes what has occurred, is screen acting at its best. "Love Affair" received six Academy Award nominations in all, including Best Picture, but in the landmark year of 1939, the film was overshadowed by a plethora of other great movies. Beautifully directed by Leo McCarey; stylishly photographed by Rudolph Mate, whose glorious black and white images further glamorize the stars; well written by Delmer Daves and Charles Ogden Stewart; with music by Roy Webb; the classic romance is tightly edited and well paced. The screen magic only dims slightly when the two stars are apart, and the scenes with orphans are borderline cloying. However, the chemistry between Dunne and Boyer is what great screen romances are made of, and the sentimental ending, while offering no surprises, will leave most viewers happily misty eyed.

It says something for the strength of a story when it can be made twice and still be just as good second time round. Remakes are usually odious things, second-rate bastardisations of a sacred classic that should never have got the green light. However when director Leo McCarey remade Love Affair in 1957 as An Affair to Remember it worked just as well as the original. The later picture has become better known, but Love Affair is still a wonderful thing in its own right.Arguably the biggest difference between the two versions is the cast. Love Affair sees Irene Dunne in what is perhaps the finest performance of her career, showing off all the varied strands of her talent. Dunne was one of the first stars who could combine a fantastic singing voice with real acting ability. When she sings she puts feeling into every note and gesture, making the songs blend seamlessly into her character's emotional development. And she could do comedy as well as the boys, often developing a ballsy rapport with her leading men as she does here with Charles Boyer. Boyer is not quite as breezily likable as Cary Grant would be in 1957 (and ironically, Grant could just as easily have played this role in 1939), but he is a strong dramatic performer and certainly fits the bill. Maria Ouspenskaya is very good too. Her role is negligible in terms of screen time but it has a bearing on the whole plot, and despite her frailty and quietness Ouspenskaya has the necessary presence to deliver a suitably memorable performance.The cast may vary, but the director is the same for both versions, and when McCarey came to do the remake he followed the original almost shot-for-shot. The implication is that his earlier work was already good enough, which it certainly is. McCarey calls upon his silent comedy background as usual, making use of long takes, subtle manoeuvres and compositions in depth. Sometimes this is as comical as it is meaningful – Dunne and Boyer sitting side-by-side at their separate tables for one is like a sight gag. Other times it is dramatically poignant. The couple's heartfelt talk on the last night of the cruise is shot in one very long take, but rather than making it completely static, the director shows us the gentle rocking of the ship as a tender counterpoint. That's typical McCarey, finding ways of keeping things moving without looking artificial or going against the mood of the scene.But perhaps the biggest secret to the dual success of the two versions is that wonderful screenplay. We have an original story by McCarey and Mildred Cram, fashioned into a screenplay by Delmer Daves and Donald Ogden Stewart. McCarey always had a nose for a heartrending love story and Stewart pretty much defined the romantic drama of the 30s and 40s. The romance develops naturally – it's not one of those misogynistic quasi-abductions you often see in movies of this period. The fateful twist is perhaps a little trite and melodramatic, but everything that comes before has been set up with such an easygoing realism that the bolt-from-the-blue is acceptable. The final resolution is just what we would expect, but it is done with a delicate simplicity that makes its impact very real. An Affair to Remember may be the better known picture, but both versions seem to fit into their own era with really very little difference between them. The reason of course is that Love Affair has that uncomplicated timelessness, which still makes it a moving experience today.

As someone who is a lover of romantic comedies I thought this film was excellent. I have seen films like Sleepless in Seattle and An Affair to Remember and this this blows those films out of the water. Charles Boyer is absolutely charming fitting the bill for French playboy. Irene Dunn's play her character to well and she is quite likable, she is not one to fall for Boyer's attempts to woo her and she has a great sense of humor. The two are the typical polar opposites that are necessary for a film like this. The chemistry between the two actors is quite believable and I found myself praying they would get together in the end. The sets for the film were quite elaborate, the scenes shot on the cruise ships and inside the passenger's cabins offer an element of verisimilitude although it quite clear it is all shot on movie sets and not on location. The softness of the lighting is quite telling of the era that this film was made but it works beautifully for this film and adds a more romantic element to the film. The camera-work and the acting make this film just stunning.