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Cast

Bette Davis
as Charlotte Vale

Paul Henreid
as Jerry Durrance

Claude Rains
as Dr. Jaquith

Gladys Cooper
as Mrs. Henry Vale

Bonita Granville
as June Vale

John Loder
as Elliott Livingston

Ilka Chase
as Lisa Vale

Lee Patrick
as `Deb' McIntyre

James Rennie
as Frank McIntyre

Charles Drake
as Leslie Trotter

Katherine Alexander
as Miss Trask

Janis Wilson
as Tina Durrance

Mary Wickes
as Dora Pickford

Tod Andrews
as Dr. Dan Regan

Franklin Pangborn
as Mr. Thompson

David Clyde
as William

Claire Du Brey
as Hilda

Don Douglas
as George Weston

Charlotte Wynters
as Grace Weston

Frank Puglia
as Manoel

Lester Matthews
as Captain

Mary Field
as Passenger

Bill Edwards
as Passenger

Isabel Withers
as Passenger

Frank Dae
as Passenger

Hilda Plowright
as Justine

Bill Kennedy
as Hamilton Hunneker

Ian Wolfe
as Lloyd

Reed Hadley
as Henry Montague

Elspeth Dudgeon
as Aunt Hester

Tempe Piggott
as Mrs. Smith

Constance Purdy
as Rosa

George Lessey
as Uncle Herbert

Corbet Morris
as Hilary

Yola d'Avril
as Celestine

Georges Renavent
as Mons. Henri

Dorothy Vaughan
as Woman

Sheila Hayward
as Katie

Hamilton Hunneker
as Bill Kennedy

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Critic Reviews for Now, Voyager

Audience Reviews for Now, Voyager

• Mar 30, 2018

  This film tugs on a few different heartstrings, with themes of a domineering mother, being an awkward, depressed young person, finding a deep connection and love with someone who can't be yours, and then personally evolving to the point of being able to transcend all of that, and finding one's path. It's really quite a touching film, and Bette Davis turns in another brilliant performance. The supporting cast around her is strong as well, and features Gladys Cooper (her mother), Paul Henreid (her lover), Claude Rains (her wise doctor). And, how fascinating is it that both Henreid and Rains began filming Casalanca immediately afterwards; clearly a great year for them. The film scores points for me for having its title come from a Walt Whitman line in 'Leaves of Grass': "The untold want by life and land ne'er granted; Now, Voyager sail thou forth, to seek and find," which is appropriate. The film speaks to being honest with oneself, to one's identity, as well as to the person you love, even if it's complicated. I loved the little touches of the inner voice that director Irving Rapper employs, which helps underscore this. It's heartwarming to see how those in love make each other better people. She begins to bloom, and radiate confidence after receiving simple acts of kindness and appreciation. He returns to his passion, architecture, and is more empathetic and understanding of his troubled daughter. The scene where they meet by chance again at a party, and have a conversation interlaced with whispered remarks of tenderness (such as her saying to him she could "cry with pride" over him following his dream) is lovely. At the same time, she's not defined by him, or dependent on him. In fact, the movie is a celebration of independence, and shows how it can be done gracefully and with class. Her strength come through in so many ways: in standing up to her mother, determining her path with another suitor, asserting herself with her old doctor, and ultimately deciding the terms she'll have her relationship with Henreid on. While she admits that "I've just been a big sentimental fool. It's a tendency I have," she also calmly says "Please let me go" when a big romantic moment threatens to sweep her away. The story about his child was touching, as we see Davis help her, as she was once helped, but I thought this part dragged on too long, and needed tightening up. It felt overly melodramatic and false; for one thing, where was the mother? There was a much earlier scene with a Brazilian taxi driver that got silly, and should have been left on the cutting room floor as well. On the other hand, I loved those last lines. He asks her, "And will you be happy, Charlotte?" And she responds "Oh Jerry, don't let's ask for the moon. We have the stars." How brilliant that line is; there is something larger than ourselves, larger than what others consider happiness.
  Antonius B Super Reviewer
• Jan 23, 2014

  The transformation of Bette Davis is a treat to watch. I have yet to find a film of hers in which I have been terribly disappointed.
  

  John B Super Reviewer
• Oct 03, 2013

  After undergoing psychotherapy for damage caused by her domineering mother, a woman meets a dashing man, but his marriage complicates their romance. Paul Henreid. Why would Isla choose Bogie over you? She certainly wouldn't if the "you" in Casablanca was the epitome of charm that the "you" in this film is. Lighting two cigarettes without breaking eye contact and flipping one around to a lady, you rock the forties definition of masculinity. And Bette Davis. You weren't always scary looking. This is an exceptionally charming but wrought film. All the high drama is played to its highest, but the plot takes the easy way out of some of its conflicts. Most notably, instead of Charlotte confronting her mother about her childhood and the two coming to some kind of cathartic compromise, Mom dies so the love plot can continue. And the love plot resolves in an equally unsatisfying and convenient manner. Overall, the performances by the leads are wonderful, but the story is too convenient for my liking.
  Jim H Super Reviewer
• Sep 16, 2011

  Max Steiner's haunting score swells like a tidal current throughout this, the grand mal weeper to end all weepers. A young woman struggles valiantly against the overprotective will of her indomitable rock of a mother, herself made hard by life, to forge a life and love free of restraint. Paul Henried is understanding, charming and loyal, Claude Rains is wise, insightful and patient, but Bette, scratching and clawing her way from ugly duckling to grace, gives the shimmering performance of a lifetime
  Kevin M. W Super Reviewer

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