My Love Came Back (1940)

81 or 85 mins | Drama | 13 July 1940

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HISTORY

Episode , the Austrian film on which this film was based, was directed by Walter Reisch and starred Paula Wessely and Karl Ludwig Diehl. Episode was a sequel to the Austrian film Maskerade , an American version of which was made by M-G-M in 1935 under the title Escapade (see above). Working titles for My Love Came Back were Episode , Men on Her Mind and Two Loves Have I . The film was director Kurt Bernhardt's first American film. HR production charts list cameraman James Wong Howe as the film's photographer, but his participation in the production has not been confirmed. HR production charts also list actors Elizabeth Earle and Mary Anderson in the cast, but their appearance in the released film has not been confirmed. HR pre-production news items note that Priscilla Lane was originally slated to play the female lead, and that although Fay Bainter was assigned a role in the film, she was later released from it and her remaining one-picture commitment on her Warner Bros. contract. According to an unidentified news item in the AMPAS Library clipping files, Olivia de Havilland, who left Warner Bros. following her success in Gone with the Wind and refused subsequent assignments with the studio, was assigned to the film after being "brought flouncing back by threat of suspension." According to a biography of de Havilland and her sister, Joan Fontaine, director Curtis Bernhardt encountered some difficulties in presenting de Havilland and Wyman as professional violinists. Although Wyman had no trouble faking ... More Less

Episode , the Austrian film on which this film was based, was directed by Walter Reisch and starred Paula Wessely and Karl Ludwig Diehl. Episode was a sequel to the Austrian film Maskerade , an American version of which was made by M-G-M in 1935 under the title Escapade (see above). Working titles for My Love Came Back were Episode , Men on Her Mind and Two Loves Have I . The film was director Kurt Bernhardt's first American film. HR production charts list cameraman James Wong Howe as the film's photographer, but his participation in the production has not been confirmed. HR production charts also list actors Elizabeth Earle and Mary Anderson in the cast, but their appearance in the released film has not been confirmed. HR pre-production news items note that Priscilla Lane was originally slated to play the female lead, and that although Fay Bainter was assigned a role in the film, she was later released from it and her remaining one-picture commitment on her Warner Bros. contract. According to an unidentified news item in the AMPAS Library clipping files, Olivia de Havilland, who left Warner Bros. following her success in Gone with the Wind and refused subsequent assignments with the studio, was assigned to the film after being "brought flouncing back by threat of suspension." According to a biography of de Havilland and her sister, Joan Fontaine, director Curtis Bernhardt encountered some difficulties in presenting de Havilland and Wyman as professional violinists. Although Wyman had no trouble faking the finger movements on a dummy violin, de Havilland apparently had no patience for it. Bernhardt attempted to disguise the problem by using a mask of de Havilland's face on a professional violinst, but the plan failed when the musician complained that she could not see or breathe through the mask. The director then thought of using a double to play the violin in semidarkness or in silhouette, but that idea was rejected when it was noted that the script called for a brightly lit classroom. Bernhardt finally solved the problem by having a professional violinist hide behind de Havilland and reach around her to perform the complicated fingering while the actress played the bow with her right hand. The file for the film in the MPAA/PCA Collection at the AMPAS Library contains a letter dated 22 Mar 1939, in which the PCA informed Warner Bros. that the story was "unacceptable" under the Code primarily because of the "suggestion that 'Julius Malette' is an habitual adulterer and that his illicit relationships are condoned by his wife and others." To avoid a censorship problem with the story, the PCA suggested the "removal of suggestions that Malette was a philanderer and adulterer and his hopes to make Amelia his mistress." More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Daily Variety
25 Jun 40
p. 3.
Film Daily
28 Jun 40
p. 5.
Hollywood Reporter
2 Apr 40
p. 1.
Hollywood Reporter
13 Apr 40
p. 9.
Hollywood Reporter
20 Apr 40
p. 7.
Hollywood Reporter
18 Mar 40
p. 7.
Hollywood Reporter
3 Jun 40
p. 4.
Hollywood Reporter
28 Jul 39
p. 2.
Hollywood Reporter
25 Jun 40
p. 3.
Motion Picture Daily
27 Jun 40
p. 2.
Motion Picture Herald
29 Jun 40
p. 30.
New York Times
13 Jul 40
p. 16.
Variety
26 Jun 40
p. 16.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Warner Bros.--First National Picture
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dial dir
Asst dir
PRODUCERS
Exec prod
Assoc prod
In charge of prod
WRITERS
Scr
Contr to dial
Contr to scr const
PHOTOGRAPHY
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
COSTUMES
Gowns
MUSIC
Orch arr
MAKEUP
Makeup
PRODUCTION MISC
Unit mgr
Unit publicist
SOURCES
LITERARY
Based on the Austrian film Episode by Walter Reisch (Viktoria Film, 1935).
AUTHOR
MUSIC
Second Hungarian Rhapsody by Franz Liszt
Nocturne by Frédéric Chopin
Concerto in E Minor by Felix Mendelssohn.
DETAILS
Alternate Titles:
Men on Her Mind
Two Loves Have I
Episode
Release Date:
13 July 1940
Production Date:
mid April--late May 1940
Copyright Claimant:
Warner Bros. Pictures, Inc.
Copyright Date:
20 July 1940
Copyright Number:
LP9778
Physical Properties:
Sound
RCA Sound System
Black and White
Duration(in mins):
81 or 85
Length(in reels):
10
Country:
United States
PCA No:
6276
Passed by NBR:
No
SYNOPSIS

Amelia Cornell, a talented scholarship student at the Brissac Academy of Music in New York, finds that she is unable to continue her studies without outside assistance. At the same time, Dr. Kobbe, the dean of the school, prohibits Amelia from giving music lessons in her spare time, which she does in order to earn money to support her mother. Amelia finds herself on the verge of having to abandon her promising career as a swing bandplayer when she receives an unexpected scholarship, which allows her to continue her studies. After Amelia meets her patron, the kind and elderly Julius Malette, who manufactures musical equipment, he sends her a phonograph player and records to broaden her musical experience. He later invites her to several musical events. One evening, Julius is unable to keep a date with Amelia and sends his factory manager, Tony Baldwin, in his stead. Tony and Amelia soon fall in love, but Tony, who thinks that Amelia is his boss's sweetheart, does not reveal his feelings toward her. Although Tony later discovers Julius' true relation to Amelia, complications arise when Julius' son Paul learns that Tony has been mailing company checks to Amelia, unaware that they were mailed at the request of his father. Paul accuses Tony of misappropriating company funds, but soon apologizes for the accusation when he overhears his father telling Amelia how much he has missed being with her. After arriving at the conclusion that his father is being unfaithful to his mother, Paul apologizes to Tony and thanks him for trying to shield his family from the news. Later, at a party at the ... +


Amelia Cornell, a talented scholarship student at the Brissac Academy of Music in New York, finds that she is unable to continue her studies without outside assistance. At the same time, Dr. Kobbe, the dean of the school, prohibits Amelia from giving music lessons in her spare time, which she does in order to earn money to support her mother. Amelia finds herself on the verge of having to abandon her promising career as a swing bandplayer when she receives an unexpected scholarship, which allows her to continue her studies. After Amelia meets her patron, the kind and elderly Julius Malette, who manufactures musical equipment, he sends her a phonograph player and records to broaden her musical experience. He later invites her to several musical events. One evening, Julius is unable to keep a date with Amelia and sends his factory manager, Tony Baldwin, in his stead. Tony and Amelia soon fall in love, but Tony, who thinks that Amelia is his boss's sweetheart, does not reveal his feelings toward her. Although Tony later discovers Julius' true relation to Amelia, complications arise when Julius' son Paul learns that Tony has been mailing company checks to Amelia, unaware that they were mailed at the request of his father. Paul accuses Tony of misappropriating company funds, but soon apologizes for the accusation when he overhears his father telling Amelia how much he has missed being with her. After arriving at the conclusion that his father is being unfaithful to his mother, Paul apologizes to Tony and thanks him for trying to shield his family from the news. Later, at a party at the Malettes, where Amelia's roommate, Joy O'Keefe, and her boyfriend, Dusty Rhodes, give a musical recital, Julius' wife settles the misunderstanding and life resumes to normal. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.