The Constant Nymph, 1943, Warner Bros. Starring Charles Boyer, Joan Fontaine, Alexis Smith. Directed by Edmund Goulding. B&W, 112 minutes.
Lewis Dodd (Charles Boyer), a concert pianist, is in a slump, and for inspiration he seeks out his friend Albert Sanger (Montagu Love) in Switzerland. Sanger has four daughters, all of whom adore Dodd, but Tessa (Joan Fontaine) is particularly enamored of him.
Shortly after his arrival, the Sanger girls’ worst fear is realized when their father dies. They are left penniless, but in the care of their wealthy uncle, Charles Creighton (Charles Coburn). Creighton visits Switzerland with his daughter, Florence (Alexis Smith), who also becomes enchanted by Dodd, and he returns her feelings. Florence and Dodd are married, leaving Tessa heartbroken. For Tessa, who has a heart condition, this stress is a serious problem.
The life of ease and wealth proves uninspiring to Dodd, however, and the newlywed couple soon discover they are no longer happy together. Equally dissatisfied with their lives are Tessa and her sister Paula, who have been sent to boarding school.
Tessa has never gotten over her feelings for Dodd, and through his music, he appears to now be returning them. But she is young, and he is married, and any union between the two seems unlikely to be destined.
The Constant Nymph was nominated for one Academy Award, Best Actress for Joan Fontaine, who lost to Jennifer Jones for her role in The Song of Bernadette. The nomination was deserved; Fontaine created an engaging and memorable character, one that is said to be among her favorites. She was cast after director Goulding had conducted a difficult search for a star who could play a 14-year-old convincingly and with depth, rejecting Joan Leslie, the studio’s choice.
Charles Boyer wasn’t as happy with his part, saying he felt the character lacked strength and sensitivity. Peter Lorre is also featured in one of his most “normal” roles, as the new husband of Tessa’s older sister Toni, and an excited father-to-be.
The movie had been out of circulation from 1951 to 2011 as rights to the story reverted back to Margaret Kennedy, the author of the book on which it was based. This was an unusual situation for Warner Bros., who typically bought story rights in perpetuity. Kennedy stated in her will the film could only be shown in universities and museums. It was rarely seen even in those venues. In 2011, Turner Classic Movies introduced a restored edition at its annual Classic Film Festival.
This is a fine film, with a story that is well-told and realistic despite its melodrama, and sharp performances from the entire cast. It has a more esoteric approach than most films of its day, focusing a bit more on the ethereal (and perhaps ephemeral) aspects of life, yet it brings the audience into the realities of one of life’s most painful situations, the loss of love.