now voyager rotten tomatoes

Now, Voyager

• Blu-ray edition reviewed by Chris Galloway
• December 15 2019

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Nervous spinster Charlotte Vale (Bette Davis) is stunted from growing up under the heel of her puritanical Boston Brahmin mother (Gladys Cooper), and remains convinced of her own unworthiness until a kindly psychiatrist (Claude Rains) gives her the confidence to venture out into the world on a South American cruise. Onboard, she finds her footing with the help of an unhappily married man (Paul Henreid). Their thwarted love affair may help Charlotte break free of her mother’s grip—but will she find fulfillment as well as independence? Made at the height of Davis’s reign as the queen of the women’s picture and bolstered by an Oscar-winning Max Steiner score, Now, Voyager is a melodrama for the ages, both a rapturous Hollywood romance and a poignant saga of self-discovery.

Picture 8/10

Extras 8/10

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Now, voyager, common sense media reviewers.

Lots of appeal for highly romantic teens.

A Lot or a Little?

What you will—and won't—find in this movie.

Some tense family scenes

A lot of smoking, drinking.

Parents need to know that this movie has a lot of appeal for highly romantic teenagers of both sexes, and for those who are interested in the dynamics and impact of dysfunctional families.

Violence & Scariness

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Drinking, Drugs & Smoking

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Parents Need to Know

Parents need to know that this movie has a lot of appeal for highly romantic teenagers of both sexes, and for those who are interested in the dynamics and impact of dysfunctional families. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (1)

Based on 1 parent review

You can have the stars

What's the story.

Charlotte Vale (Bette Davis) is the repressed and depressed daughter of an imperious mother (Gladys Cooper). Miserable and insecure, she begins seeing psychiatrist Dr. Jaquith (Claude Rains). At his sanitarium she develops some self worth, and takes a cruise before returning home. On the ship, she meets Jerry (Paul Henreid), begins to bloom under his attention, and they fall in love. But Jerry is married and can't consider divorce. They say goodbye, and Charlotte returns home to her controlling mother. Charlotte meets Elliott (John Loder), a kind businessman, who wants to marry her, and her mother approves. But when she sees Jerry again, she turns Elliott down. This so infuriates her mother that she has a heart attack and dies. Overcome with guilt, Charlotte returns to Dr. Jaquith. But at the sanitarium, she meets a troubled young girl, Tina, Jerry's daughter. In reaching out to Tina, she strength and sense of purpose. When Charlotte goes home, Tina moves in with her. Jerry at first wants to take Tina away, thinking it is too much of an imposition, but Charlotte persuades him that it is a way for them to be close.

Is It Any Good?

NOW, VOYAGER has a lot of appeal for highly romantic teenagers of both sexes, and for those who are interested in the dynamics and impact of dysfunctional families. Charlotte's mother is completely self-obsessed, consumed with power, incapable of compassion, much less love, for her daughter, but it is also clear that there is no way for Charlotte to be successful in pleasing her mother. In the end, Charlotte's independence and self-respect are much more threatening to her mother, who literally cannot survive Charlotte's assertion of her right to her own life.

The title of the movie is from a line by Walt Whitman that Dr. Jaquith gives to Charlotte: "Now voyager, sail forth to seek and find." Charlotte learns not to be afraid of what she will find, to risk getting hurt, to risk allowing herself to be known, to risk caring about someone else. It is also worthwhile for kids to see that Charlotte must love herself before she is able to love someone else, and that just as Jerry's love helps her to bloom, she is able to do the same for Tina.

Talk to Your Kids About ...

Families can talk about why Charlotte had such a hard time feeling good about herself. Why did Jerry and Charlotte decide not to see each other any more? Why did seeing Jerry make Charlotte change her mind about marrying Elliott? What did Charlotte's mother want from Charlotte? Was that fair? What should Charlotte have said to her mother? Why did helping Tina make Charlotte feel better?

Movie Details

• In theaters : October 31, 1942
• On DVD or streaming : November 6, 2001
• Cast : Bette Davis , Paul Henreid
• Director : Irving Rapper
• Studio : Warner Bros.
• Genre : Drama
• Run time : 117 minutes
• MPAA rating : NR
• Last updated : June 2, 2023

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Disc Reviews

Criterion collection: now, voyager (1942) | blu-ray review.

The first of four titles in which Irving Rapper would direct Davis (the others being The Corn is Green , Deception and Another Man’s Poison ), the actor scored her seventh of eleven Oscar nominations, and the director reunited her with her two leads, Claude Rains and Paul Henreid in 1946’s noir melodrama Deception . Here, Davis plays the final ‘surprise’ child of the puritanical Boston socialite Mrs. Henry Vale (the silent star Gladys Cooper, who would be awarded her first of three Academy Award nominations for this film in the latter half of her screen career).

Held captive by her domineering mother, Davis’ Charlotte is a mousy hausfrau (looking eerily similar to Saffy from the UK’s “Absolutely Fabulous” series) suffering from bouts of hysteria. When her sister-in-law brings the friendly Dr. Jacquith (Claude Rains) over for an in-house interview, he deduces Charlotte’s condition requires a stay in a sanatorium, wherein she blossoms ‘neath his tutelage. Urging her to embark on a South American cruise, she is taken by the dashing but unhappily married Jerry Durrance (Paul Henreid). After disembarking, Charlotte finds herself a changed woman, resisting the urge to fall into her prescribed role upon returning home. Rebuked by her mother, Charlotte becomes engaged to a potentially sociable match, but this falls apart when she is later reintroduced to Jerry, with circumstance allowing her to become a mentor to his youngest daughter, an unwanted child who, like herself once, suffers from crippling self-image issues.

Composer Max Steiner won an Academy Award for his work here (in a score Davis disliked because she felt it encroached upon her performance). Tender, poignant and lusciously calibrated by Rapper, Now, Voyager is one of the few romantic melodramas which manages a timelessness due to its almost accidental universality, wherein a privileged white woman who finds her voice simultaneously embraces her worth, allowing herself the freedom to enjoy her present and fantasize about the possibilities of her future.

Film Rating: ★★★★/☆☆☆☆☆ Disc Rating: ★★★★/☆☆☆☆☆

Los Angeles based Nicholas Bell is IONCINEMA.com's Chief Film Critic and covers film festivals such as Sundance, Berlin, Cannes and TIFF. He is part of the critic groups on Rotten Tomatoes, The Los Angeles Film Critics Association (LAFCA), FIPRESCI, the Online Film Critics Society (OFCS) and GALECA. His top 3 for 2023: The Beast (Bonello) Poor Things (Lanthimos), Master Gardener (Schrader). He was a jury member at the 2019 Cleveland International Film Festival.

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Now, Voyager review – Bette Davis at the height of her powers

Irving Rapper's newly restored 1942 classic about a spinster who learns to appreciate life is a brilliant showcase for its magnetic star

09 Aug 2021

A Hollywood icon in every sense of the word, Bette Davis was an actor capable of summoning wit, charisma, and intensity all in a single line of dialogue. Exhibiting the qualities that made her such a commanding screen presence, Irving Rapper’s Now, Voyager – newly restored and now in cinemas courtesy of the BFI – is a star vehicle that endures beyond its original standing as a “women’s picture” thanks to its stunning depiction of a person coming to understand who they really are.

Here is a classic film with a great deal of universal appeal, with themes ranging from self-discovery, to building trusting and robust relationships. It's all subtly interwoven into Davis' magnetic portrait of a woman in crisis, and through the subtle complexities of Casey Robinson’s adapted screenplay (based on the source novel by Olive Higgins Prouty).

Now, Voyager follows the affluent Charlotte Vale (Bette Davis), stunted after having grown up under the heel of her puritanical and controlling mother (Gladys Cooper), and who remains convinced of her own unworthiness until a kindly psychiatrist, Dr. Jaquith (Claude Rains), gives her the confidence to set out on a restorative South American cruise.

The monumental moment leads Charlotte onto a ship and into the company of another solo traveller, Jerry, played by Paul Henreid. Although he's married, they embark on a friendship and somewhat thwarted love affair, which helps Charlotte break free of her mother’s grip and discover a sense of self that's always been lacking.

Produced at the peak of Davis’ stardom at Warner Bros., the dominating actress transforms effortlessly between an initially shy and timid spinster into a woman filled with a verve for life and all its wonders. She flourishes with independence as the film gains momentum and, with each scene, finds noble strength to care for others.

The visual transformation owes a great deal to Davis’ dexterous acting ability, though she is aided by a good number of flowing gowns and lavish hats, conjured by the delicate touches of costume designer Orry-Kelly, who Davis frequently collaborated with across her entire career. These two forces culminate through the stark juxtaposition of costumes before and after the defining cruise. Specifically, Kelly’s costumes play with literal veils, an extended visual metaphor of the character’s name and her journey of self-discovery.

Unlike many productions of the era, Now, Voyager places a great deal of attention towards location shooting, creating its memorable images far away from the usual Hollywood sound stages, what with their artificial lighting and fake trees. As a result, the truest sense of exploration comes to the forefront – the kind that shaky backdrops on studio lots rarely afford.

As in Prouty’s original novel, the film does not shy away from melodrama, yet still places a women’s authority central to proceedings, notably echoed in the film's last line. The deliverance of the film’s final line (not to be spoiled here) could have been played with a straight romantic quality, yet in Davis’ vivid delivery a whole array of feminist themes are unearthed, placing an emphasis on women caring and supporting one another outside of a purely patriarchal family structure.

Although the film was originally intended towards a female audience, Now, Voyager avoids cliche and sentimentality about a woman's place in the world and fully transcends its origins. What emerges is a universal message about the resilience of the human condition – a timeless expedition of self-discovery with an enduring lead performance from a dedicated actor working at the height of her powers.

Now, Voyager is now showing in select UK cinemas.

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Review: ‘Now, Voyager’ Remastered

The untold want by life and land ne’er granted, Now voyager sail thou forth to seek and find.

                                                         Walt Whitman

One of the phrases that us cinephiles were longing to hear over the course of these torturous last 18 months was “In cinemas now!” Seeing a film on the big screen with an audience, even if one has used up the DVD copy, is a treasured and often unparalleled experience. Therein lies the magic of the cinema.

I often feel that I’m playing catch-up on new releases, often distracted and dazzled by old rereleases. It feels to me that a portal to the past has been opened and I must take advantage of stepping through to the other side. What a joy it is to walk the sacred ground of the movie theatre aisle, sit on the plush red velvet seat, and imagine that, for the next two hours, I am part of an audience who has possibly not seen this film, and I can enjoy their reactions and enjoy the same experience.

An opportunity for such an experience has arisen again. In one of their better decisions of late, Warner Bros have released a 2k restoration of a 1942 film called Now, Voyager . Faithfully based on a novel by Olive Higgins Prouty, the film, directed by Warner Bros. stock director Irving Rapper, has been often pigeon-holed as a melodrama (a woman’s picture) , a makeover movie , or just another Bette Davis vehicle. Now, Voyager can be all those things, but for it to entice excitement almost 80 years since its first release, it has to be something more than a product of its time.

First of all, let’s get the melodrama part out of the way. One of the definitions of melodrama is “a work (such as a movie or play) characterized by extravagant theatricality and by the predominance of plot and physical action over characterization.” The melodramatic plot can be read as such: 30-something Charlotte Vale (Bette Davis) is on an ocean liner recovering from a bout of nerves. She meets and falls in love with a married man, Jerry (Paul Henreid), who, despite reciprocating, cannot leave his wife for her. Heartbreak ensues. 

While this can be perceived as the usual forbidden love trope, there is more to the relationship than passionate glances between Charlotte and Jerry while sharing a sensual cigarette. As undeniable as the chemistry between the two leads is, successfully and tastefully sidestepping the Production Code, what Jerry signifies to Charlotte is first and foremost friendship and emotional support in the face of a state of mental fragility. Charlotte has lived most of her life being controlled by her overbearing mother (Gladys Cooper at her best), starved of the independence she needs in order to function in society. Her mother has been policing everything around Charlotte, everything but her thoughts and inner passions. Teased and tortured by her family, “poor aunt Charlotte” finally explodes into a nervous breakdown, from which she emerges a different, albeit still fragile and self-conscious, person. The possibility of stirring the interest of a handsome and intelligent man like Jerry makes Charlotte almost return to her previous self, a fragile, frightened ugly duckling . She needs a friend and a friend she gets. The melodrama factor lies in the almost unbelievable romance that unravels once Charlotte has accepted Jerry’s friendship and trust. And yet, what can be more believable than a pure expression of the untold want we, as romantic creatures, must strive to seek and find?

Now, Voyager has often been labelled as a makeover movie , and one not too believable. The story begins with a seemingly overweight, unibrowed, badly dressed Charlotte, teased and tortured by various members of her family. She is mousy in her demeanour, afraid to open her mouth in the presence of strangers, accepting the jibes of her relatives almost without incident. Davis’ appearance at the start of the film might prompt a snigger from the audience. Personally, I feel that with the restored version, certain details pertaining to her appearance make the performance as dowdy, frumpy Charlotte more convincing. While the padding under the badly cut dress is evident, the excess of facial hair is also more apparent and thus the “before” image is more effective (the radiance Davis exudes during her love scenes with Henreid, once her mind is settled, is palpable). Rumour has it that, ever so consummate an artist and so devoid of vanity, Davis had wanted even more padding under her dress to make her Charlotte truly the overweight aunt Charlotte, not the “rather plump” Aunt Charlotte that Warner Bros. producer, Hall B. Wallis, opted for. For all the excellence of Now, Voyager , one must remember that it is a product of its time, a time when film producers (i.e. the studio) had much more of a say on the look of the finished film than the director. There are exceptions of course, and truly great directors were able to shine through the assembly-line style of work that was imposed on them.

There are glimpses of that in Now, Voyager , making it more than a makeover movie . Rapper manages to make us understand that Charlotte’s transformation is more than just the physical aspects. Even with the physical transformation on the cruiser, Charlotte feels insecure and ready to snap back into her old self because she has no trust in her own power. She feels alone. She is alone. She is used to being laughed at by her closest family members so it would make sense for her not to trust a complete stranger like Jerry. Thus, her post-breakdown radiance appears as a light from within, showing how it takes all the strength in the world to finally be able to say “I am not afraid!”, to look and feel like a sane and healthy person, almost unrecognisable from the anxious 30-something spinster aunt Charlotte Vale who has lived most of her life in the shadow of her tyrannical mother. Indeed, the film is more than a romance. In a time when mental health issues were solved with electric shocks, the understanding that mental health could be seen as truly an illness that requires patience and understanding was revolutionary.

Finally, this film is a Bette Davis vehicle, there is no doubt about it. For those who aren’t familiar with her work, it is a good introduction. Her Charlotte is vulnerable, mentally frail, but possesses a passion and strength that were not unfamiliar to Davis herself. Known in Hollywood for playing strong, willful ( Jezebel , Dark Victory , The Petrified Forest ), at times despicable ( The Letter ) and even evil characters ( The Little Foxes ), Davis adds a layer of latent independence that makes audiences root for Charlotte from the first scene. We don’t pity poor aunt Charlotte; we believe in her.

You might go in for Davis, but you will stay rooted to your seat for the other stellar performances in this film: Gladys Cooper (also nominated for an Oscar alongside Davis) is exquisitely wicked as the autocratic mother who has enslaved her only daughter. Paul Henreid is as smooth as a summer breeze, aptly cast as the love interest (audiences will know him as Victor Laszlo from Casablanca , released the same year). Claude Rains also shines, as the good doctor that throws Charlotte a lifeline, aiding her to find her trust in human interaction once again.

For a film made during the much-constricting Production Code, Now, Voyager is almost as sexy as a Pre-Code film, unveiling Charlotte’s inner fire and the complex relationship with Jerry through a set of extremely sensual glances between the two leads while they share a cigarette. Their understanding is complete, transcending sex but not excluding it. Smoking has never been or will ever be sexier. 

Now, Voyager is being released in UK cinemas nationwide. The BFI has also scheduled a full month of Bette Davis films, so if you’re in London in August, check it out. There are over 20 films spanning the 50+ year career of a Hollywood legend.

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Now Voyager Review

31 Oct 1942

117 minutes

Now Voyager

Taking its title from a line in Walt Whitman's poem, Leaves of Grass, this classic Warners melodrama was adapted from a novel by Olive Higgins Prouty, who had also written that durable potboiler, Stella Dallas. Producer Hal B. Wallis initially conceived the project as a vehicle for Irene Dunne and considered Norma Shearer and Ginger Rogers before alighting on Bette Davis.

    On its release, the film was renowned for the sequence in which Paul Henreid lit two cigarettes and handed one to Davis, and her climactic line about not wishing for the moon when she had the stars. But the critics were less than respectful in their haste to consign it to the tearjerking margins of the woman's picture - territory that has since been reclaimed by genre scholars, who revealed how adroitly director Irving Rapper and screenwriter Casey Robinson exploited generic convention to produce a solid piece of studio art.

    Rapper's direction is particularly effective for a Broadway exile who was still in his first year behind the camera after serving as a dialogue coach on a handful of William Dieterle pictures. Most notable are his use of expositionary conversations and close-ups of isolated body parts (mostly of her craft-working hands) to anticipate Charlotte's entrances at different times in her development and the employment of Max Steiner's Oscar-winning love theme to unite Charlotte and Jerry within the frame (such as during the Latin interlude and the dinner at which they have to suppress their emotions) and when they are apart, after he returns to his manipulative wife and she contemplates a future with Boston widower, Elliot Livingston.

Even a reliance on the old device of flickering pages to emphasise (and justify) the novelettish nature of the narrative pays off. As does the ingenious denouement, which archly remains within Production Code restrictions while giving Charlotte the love she craves and the chance to rectify her own spoilt youth, while also leaving her to enjoy her new-found independence. Few Hollywood pictures of the time played so fast and loose with filmic and moral tradition.

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Rotten Tomatoes® Score

It fits within the genre and it is a great show for Davis’s talents.

Davis gives a captivating career-high turn as Charlotte Vale...

It was directed by a certain Irving Rapper, who, quite possibly, may not be a fool. Unfortunately, this is how they degrade the tragic heroine of The Little Foxes, The Letter, Of Human Bondage.

This is a movie in which all the elements come together in perfect harmony to give an essentially hackneyed theme the imprint of greatness.

In this conflict between inner and outer beauty, loving oneself without the affirmation of others, altruism, self-truth vs societal expectation and discovering that happiness comes from within, Now, Voyager -- and its leading lady -- soars.

This film is exquisitely crafted and passionately acted.

Bette Davis, as the neurotic daughter, Claude Rains, the doctor, and Paul Henreid, combine to make a fine production.

It may be a standard tale of forbidden romance, but it dwells on an uncommon twosome; these past-their-prime souls aren't the typical fare for a melodramatic love yarn.

Tender, poignant and lusciously calibrated by Rapper, Now, Voyager is one of the few romantic melodramas which manages a timelessness due to its almost accidental universality.

...a part that's perfect for Davis, which makes it odd that Now, Voyager feels the need to do so much of the work for her.

Additional Info

• Genre : Drama
• Release Date : October 22, 1942
• Languages : English
• Captions : English
• Audio Format : Stereo

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Now, Voyager

Mrs. Henry Windle Vale: No member of the Vale family has ever had a nervous breakdown.

Dr. Jasquith: Well there's one having one now.

Charlotte Vale: Oh Jerry, don't let's ask for the moon. We have the stars.

Dr. Jasquith: Remember what it says in the Bible, "The Lord giveth and the Lord taketh away."

Charlotte Vale: How does it feel to be the Lord?

Dr. Jasquith: Not so very wonderful, since the Free Will Bill was passed. Too little power.

Charlotte Vale: I'm not afraid. I'm not afraid, mother. I'm not afraid.

Charlotte: A maiden aunt is an ideal person to select presents for young girls.

Charlotte: An architect! I could cry with pride.

Jerry: Are you one of the Vales of Boston?

Charlotte: One of the lesser ones.

Jerry: Is it Miss, or Mrs.?

Charlotte: It's Aunt.

June: Got the shakes, Aunt Charlotte?

Charlotte: Go on! Make fun of me! You think it's fun making fun of me!

Mrs. Vale: Charlotte is no more ill than a moulting canary.

Charlotte Vale: "Some girls aren't the marrying kind."

Charlotte Vale: I didn't want to be born. You didn't want me to be born either. With a calamity on both sides.

Charlotte Vale: Dr. Jasquith says that tyranny is sometimes expression of the maternal instinct. If that's a mother's love, I want no part of it.

Charlotte: "We can only hope that someone will tenderly put away our toys."

Mrs. Vale: I will not countenance deceit against one of my own flesh and blood, but neither will I countenance any more of Charlotte's nonsense. [To Charlotte] Lisa tells me that your latest peculiarities, your fits of crying, your secretiveness indicate that you're on the verge of a nervous breakdown. Is that what you're trying to achieve? Believe me, I'm trying to help. Dr. Jaquith has a sanitarium in Vermont, I believe. Probably one of those places with a high-wire fence and yowling inmates.

Dr. Jaquith: I wouldn't want anyone to have that notion. Cascade is where people go when they're tired. Like you go to the seashore.

Mrs. Vale: The very word 'psychiatry,' Dr. Jaquith, doesn't it fill you with shame, my daughter, a member of our family?

Dr. Jaquith: There's nothing shameful or frightening about it. It's simple, what I do. People come to a fork in the road. They don't know which way to go. I put up a signpost: "Not that way. This way."

Dr. Jaquith: You know, there's nothing like these old Boston homes anywhere...you see them standing in a row like bastions, firm, proud, resisting the new, houses turned in upon themselves hugging their pride.

Charlotte: Introverted, doctor.

Dr. Jaquith: Well, I wouldn't know about that. I don't put much faith in scientific terms. I leave that to the fakirs and writers of books.

Dr. Jaquith: My dear Mrs. Vale, if you had deliberately and maliciously planned to destroy your daughter's life, you couldn't have done it more completely.

Mrs. Vale: How? By having exercised a mother's rights?

Dr. Jaquith: A mother's rights, tawdle. A child has rights, a person has rights, to discover her own mistakes, to make her own way, to grow and blossom in her own particular soil.

Mrs. Vale: Are we getting into botany, doctor? Are we flowers?

Jerry: [pointing at Charlotte in the picture] Who's the fat lady with the heavy brows and all the hair?

Charlotte: A spinster Aunt.

Jerry: Where are you? Taking the picture?

Charlotte: I'm the fat lady with the heavy brows and all the hair. I'm poor Aunt Charlotte and I've been ill. I've been in a sanitarium for three months and I'm not well yet. [She breaks down in tears] Forgive me.

Jerry: Feeling better?

Charlotte: Much. Thanks to you. Oh, many, many thanks to you.

Jerry: Thanks for what?

Charlotte: Oh, for sharing my carriage today and for walking my legs off sight-seeing. And for lunch and for shopping, and for helping me feel that there were a few moments when I - when I almost felt alive. Thank you.

Jerry: Thank you who?

Charlotte: Thank you, Jerry.

Jerry: [as Charlotte tries to leave] Please, don't yet.

Charlotte: Well, I'm not going to struggle with you.

Jerry: That's right. No telling what sort of primitive instincts you might arouse. Isn't it beautiful? [He puts two cigarettes in his mouth, lights them both and then hands one to Charlotte.] Do you believe in immortality?

Charlotte: I don't know. Do you?

Jerry: I want to believe that there's a chance for such happiness to be carried on somehow somewhere.

Charlotte: Are you so happy then?

Jerry: Close to it. Getting warmer and warmer as we used to say as kids. Remember?

Charlotte: Look out or you'll get burned we used to say.

Jerry: Are you afraid of getting burnt if you get too close to happiness?

Charlotte: Mercy, no. I'm immune to happiness and therefore to burns.

Jerry: You weren't immune that night on the mountain.

Charlotte: Do you call that happiness?

Jerry: Only a small part. There are other kinds.

Charlotte: Such as?

Jerry: Having fun together, getting a kick out of simple little things, out of beauty like this. Sharing confidences we wouldn't share with anybody else in all the world. Charlotte, won't you be honest and tell me if you are happy too? Since the night on the boat when you told me about your illness, I-I can't get you out of my mind - or out of my heart either. If I were free, there would be only one thing I want to do - prove you're not immune to happiness. Would you want me to prove it Charlotte? Tell me you would. Then I'll go. [She turns toward him and buries her head in his chest.] Why darling, you are crying.

Charlotte: I'm such a fool, such an old fool. These are only tears of gratitude - an old maid's gratitude for the crumbs offered.

Jerry: Don't talk like that.

Charlotte: You see, no one ever called me darling before. [they kiss]

Charlotte: I hate goodbyes.

Jerry: They don't matter. It's what's gone before.

Charlotte: No, it's what can't go after.

Jerry: We may see each other - sometime.

Charlotte: No, we promised. We are both to go home.

Jerry: Will it help you to know I'll miss you every moment?

Charlotte: So will I, Jerry, so will I. Goodbye.

Charlotte: Mother - I don't want to be disagreeable or unkind. I've come home to live with you again here in the same house. But it can't be in the same way. I've been living my own life, making my own decisions for a long while now. It's impossible to go back to being treated like a child again. I don't think I'll do anything of importance that will displease you, but Mother, from now on, you must give me complete freedom, including deciding what I wear, where I sleep, what I read...Mother, please be fair and meet me halfway.

Mrs. Vale: They told me before you were born that my recompense to having a late child was the comfort the child would be to me in my old age, especially if she was a girl. And on your first day home after six month's absence, you behave like this.

Mrs. Vale: And you expect me to pay for articles charged to me of which I do not approve?

Charlotte: Well, I could pay for it myself. I have saved quite a little money. I have about five thousand dollars.

Mrs. Vale: Five thousand dollars won't last very long, especially if your monthly allowance were to be discontinued.

Charlotte: Oh. Mother, I want to ask you something. When father set up the trust for the two boys, why didn't he make one for me too?

Mrs. Vale: Because you were a mere child and he wisely left your affairs to my own better judgment. I'm sure you've always had everything in the world you want.

Charlotte: I haven't had independence.

Mrs. Vale: That's it. That's what I want to talk about - independence. To buy what you choose, to wear what you choose, sleep where you choose, independence. That's what you mean by it, isn't it?

Charlotte: Dr. Jaquith says that - that independence is reliance upon one's own will and judgment.

Mrs. Vale: I make the decisions here, Charlotte. I'm willing you should occupy your own room until I dismiss the nurse. She will occupy your father's room for the time being, and will perform a daughter's duties as well as a nurse's. That will give you a good chance to think over what I've said. I'm very glad to give a devoted daughter a home under my roof, and pay all her expenses, but not if she scorns my authority.

Charlotte: Well, I could earn my own living, Mother. As a matter of fact, I've often thought about it. I'd make a very good head waitress in a restaurant or...

Mrs. Vale: You may think that very funny, but I guess you'll be laughing out of the other side of your face if I did carry out my suggestion.

Charlotte: I don't think I would. I'm not afraid, Mother. (in close-up) I'm not afraid. I'm not afraid, Mother.

Mrs. Vale: Charlotte, sit down. I want you to know something I've never told you before. It's about my will. You'll be the most powerful and wealthy member of the Vale family - if I don't change my mind. I advise you to think it over.

Charlotte: I knew you were married and I walked right in with my eyes wide open. But you said it would make you happier.

Jerry: And it has. I've got back my work, and that's due to you.

Charlotte: I've been hoping you'd say that.

Charlotte: Shall I tell you what you've given me? On that very first day, a little bottle of perfume made me feel important. You were my first friend. And then when you fell in love with me, I was so proud. And when I came home, I needed something to make me feel proud. And your camellias arrived, and I knew you were thinking about me. Oh, I could have walked into a den of lions. As a matter of fact, I did, and the lions didn't hurt me.

Charlotte: Elliott and I have broken our engagement.

Mrs. Vale: Why have you done that?

Charlotte: Because I don't love him.

Mrs. Vale: Have you no sense of obligation to your family or to me? Here you have the chance to join our name Vale with one of the finest families in the city, Livingston, and you come in here to tell me that you aren't in love. You're behaving like a romantic girl of eighteen.

Charlotte: I don't doubt it.

Mrs. Vale: And what do you intend to do with your life?

Charlotte: Get a cat and a parrot and live alone in single blessedness.

Mrs. Vale: STOP ROCKING. You've never done anything to make your mother proud, or to make yourself proud either. Why, I should think you'd be ashamed to be born and live all your life as Charlotte Vale. Miss Charlotte Vale.

Charlotte: Dr. Jaquith says that tyranny is sometimes an expression of the maternal instinct. If that's a mother's love, I want no part of it. [Rising vehemently and walking away] I didn't want to be born. You didn't want me to be born either. It's been a calamity on both sides.

[Mrs. Vale suffers a fatal stroke and heart attack]

Charlotte: Oh mother, let's not quarrel. We've been getting along together so well lately. It was a horrid...thing to say...

Tina: I'm ugly and nobody likes me...I'm not pretty in the least. You know I'm not.

Charlotte: Well, whoever wants that kind of prettiness, Tina? There's something else you can have if you earn it. A kind of beauty.

Tina: What kind?

Charlotte: Something that has nothing to do with your face. A light shines from inside you because you're a nice person. You think about it. Someday, you'll know I'm right.

Tina: Will they like me then?

Charlotte: Who are they?

Tina: Everybody. All the kids at school, Miss Trask, and the nurses and the doctors. Oh, there must be something awfully wrong with me.

Charlotte: Do you like them, Tina? The kids at school, and Miss Trask and the nurses and the doctors?

Tina: No. I hate them.

Charlotte: Shhh. That's something else you've got to grow up with. If you want people to like you, you've got to like people.

Tina': Why are you so good to me?

Charlotte: Because somebody was good to me once when I needed somebody.

Jerry: I can't go on forever taking, taking, taking from you and, and giving nothing, darling.

Charlotte: Oh, I see. Forgive me, Jerry, it's your pride, isn't it? Let me explain. You will be giving. Don't you know that to take is sometimes a way to give - the most beautiful way in the world if two people love each other. You'll be giving me Tina, every single day I'll be taking and you'll be giving.

Jerry: It's very kind of you to put it that way.

Charlotte: Some man who'll make me happy? Oh, so that's it. So that's it. Well, I've certainly made a great mistake. Here I have been laboring under the delusion that you and I were so in sympathy - so one - that you'd know without being asked what would make me happy. And you come up here to talk about some man. Apparently, you haven't the slightest conception of what torture it is to love a man and to be shut out, barred out, to be always an outsider, an extra.

Jerry: Charlotte, let me -

Charlotte: Why, when Tina said she wanted to come home and stay with me - well, it was like a miracle happening. Like having your child, a part of you. And I even allowed myself to indulge in the fantasy that both of us loving her and doing what was best for her together would make her seem actually like our child after a while. But I see no such fantasy has occurred to you. Again, I've been just a big sentimental fool. It's a tendency I have.

Jerry: Wait a minute. I was afraid you were keeping Tina out of pity. But there was no note of pity in your ridicule of me just now. Now I know you still love me, and it won't die, what's between us. Do what we will - ignore it, neglect it, starve it - it's stronger than both of us together.

Charlotte: Please, let me go.

Jerry: Charlotte -

Charlotte: Please, let me go. Jerry, Dr. Jaquith knows about us. When he said I could take Tina, he said, "You're on probation." Do you know what that means? It means that I'm on probation because of you and me. He allowed this visit as a test, and if I can't stand such tests, I'll lose Tina, and we'll lose each other. Jerry, please help me.

Jerry: Shall we just have a cigarette on it?

Charlotte: Yes.

Jerry: May I sometimes come here?...

Charlotte: Whenever you like; it's your home too. There are people here who love you.

Jerry: ...and look at you and Tina? Share with you peace and contentment?

Charlotte: Of course, and just think, it won't be for this time only. That is, if you will help me keep what we have, if we both try hard to protect that little strip of territory that's ours. We can talk about your child -

Jerry: Our child.

Charlotte: Thank you.

Jerry: And will you be happy, Charlotte?

Charlotte: Oh, Jerry, don't let's ask for the moon. We have the stars. Note: bolded line is ranked #46 in the American Film Institute's list of the top 100 movie quotations in American cinema.

Charlotte Vale: My mother didn't think that Leslie was suitable for a Vale of Boston. What man is suitable, Doctor? She's never found one. What man would ever look at me and say, "I want you"? I'm fat. My mother doesn't approve of dieting. Look at my shoes. My mother approves of sensible shoes. Look at the books on my shelves. My mother approves of good, solid books. I'm my mother's well-loved daughter. I'm her companion. I'm my mother's servant. My mother says. My mother! My mother! My mother!

Mrs. Henry Windle Vale: Charlotte was a late child. There were three boys, then after a long time, this girl. "A child of my old age," I've always called her. I was well into my forties, and her father passed on soon after she was born. My ugly duckling. Of course it's true that all late children are marked. Often such children aren't wanted. That can mark them. I've kept her close by me always. When she was young, foolish, I made decisions for her. Always the right decisions.

Mrs. Henry Windle Vale: Could we try to remember that we're hardly commercial travelers? It's bad enough to have to associate with these tourists on board without having to go ashore with them.

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New horror movie with disappointing Rotten Tomatoes score is getting a sequel – but not in the way you might expect

M. Night Shyamalan-produced horror-thriller The Watched is getting a sequel – just not in the way you're probably expecting.

Directed by Shyamalan's daughter Ishana Night Shyamalan, the movie follows Mina (Dakota Johnson), an artist who finds herself trapped in a remote, concrete cabin with three strangers after getting lost in a forest in western Ireland. There, she discovers that the trio are, essentially, prisoners in the weird-looking shelter; rarely stepping outside its walls due to the mysterious, murderous creatures that observe their every move each night. 

Also starring Georgina Campbell ( Barbarian ), Oliver Finnegan, and Olwen Fouéré, it's based on A.M Shine's 2022 novel The Watchers.

Despite the film's largely negative reviews, which led to it earning just 32% on Rotten Tomatoes, the book proved a hit with critics, and now it's been announced that a follow-up book, titled Stay in the Light, is on the way. While it's not a detail that featured in Shyamalan's take, the title references a phrase scrawled on the inside of 'The Coop', which Mina and co find themselves having to heed in order to survive.

"After her terrifying experience at the hands of the Watchers, Mina has escaped to a cottage on the west coast of Ireland. She obsessively researches her former captors, desperate to find any way to prolong the safety of humankind," the official synopsis reads, making clear that it'll pick up right where its predecessor (and the movie) leaves off.

"When Mina encounters a stranger near her home, she fears the worst – for she knows the figure is not what it seems. Soon, people she has encountered start to disappear," it continues. "Mina knows the Watchers' power is growing. She flees for her life, but when she reports her fears she finds her sanity questioned. Can she convince people that the Watchers are real, and ready to strike – or will she suffer the fate she has dreaded since she first encountered those malevolent beings?"

Given the negative reception to The Watched, and its lackluster box-office takings, it seems unlikely that the sequel novel will be adapted for the big screen, too. Stranger things have happened, though. We'll just have to wait and see.

Stay in the Light releases on 10 October 2024, just in time for Halloween. You can pre-order it here or on Amazon UK . 

If... well... watching is more your bag than reading, check out our list of the  best horror movies  of all time or our breakdown of the most exciting  upcoming horror movies  heading our way.

Screen Rant

Emma myers’ popular new 81% rt netflix show creates a big challenge for wednesday season 2.

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15 Biggest Changes A Good Girl's Guide To Murder Makes To The Book

10 best shows like netflix’s a good girl’s guide to murder, kirk calls doctor mccoy “bones” in star trek - but why.

• A Good Girl's Guide to Murder has a higher Rotten Tomatoes score than Wednesday, with critics praising its entertainment value.
• Emma Myers' role in the series sets high expectations for Wednesday season 2, showcasing her versatility as an actress.
• The show follows Pip, a young investigator determined to uncover the truth behind a schoolgirl's murder, leading to a web of secrets.

Emma Myers' popular new Netflix series A Good Girl's Guide To Murder sets up a high expectation for Wednesday season 2. Myers starred alongside Jenna Ortega in the massively successful Netflix series Wednesday , most of which was directed by Tim Burton. Myers played Enid Sinclair, a werewolf student at Nevermore Academy who is roommates and best friends with Ortega's Wednesday Addams.

Both Ortega and Myers are set to return in the hotly anticipated Wednesday season 2 , which is currently expected to be released in 2025. Myers' role in A Good Girl's Guide to Murder completely reverses her role in Wednesday , with her character Pip being much more awkward and intense than Enid. A Good Girl's Guide to Murder is currently the number 1 show on Netflix , however, it has a long way to go to catch up to Wednesday's record-setting 250 million+ views.

A Good Girl's Guide To Murder Show Now Has A Higher Rotten Tomatoes Score Than Wednesday

Wednesday season 1 received a rotten tomatoes critic score of 73%.

It may come as a surprise that A Good Girl's Guide to Murder actually has a higher Rotten Tomatoes critic score than the hugely popular Wednesday . A Good Girl's Guide to Murder currently has a Certified Fresh critic score of 81% along with a similarly positive audience score of 72%, while Wednesday season 1 received a Rotten Tomatoes critic score of 73% and an audience score of 85%. While more critics have given better ratings to A Good Girl's Guide to Murder , Wednesday season 1 excels in other ways that appeal to fans and have a cultural impact.

Critics have applauded the captivating entertainment value of A Good Girl's Guide to Murder . Alan Sepinwall of Rolling Stone writes, " Once again, the idea is to contrast the seemingly sweet, wide-eyed, innocent exterior of these girls with the dark secrets they’re trying to uncover... "Good Girl’s Guide" is a reasonably well made version of that old formula ." Aramide Tinubu of Variety writes, " A Good Girl’s Guide to Murder engagingly unpacks the anguish of being a teenage girl, the complexities of friendship and the deceptiveness of appearances ."

The show adaptation for A Good Girl's Guide To Murder makes very significant changes from its book counterpart. Some of them are good, but not all.

Emma Myers' New Netflix Show Puts Even More Pressure On Wednesday Season 2 To Beat Season 1

Some may expect wednesday season 2 to far surpass season 1.

Netflix has delivered another celebrated show starring Emma Myers , which raises the level of expectations for Wednesday season 2 even higher than they already were. Prior to Wednesday's release in 2022, Myers was a mostly unknown up-and-coming actress with very few professional credits to her name. Now that Wednesday has greatly increased her celebrity, she was given the opportunity to be the star of her own series, which critics and audiences both agree that she nailed out of the park. A Good Girl's Guide to Murder is so well received that some may expect Wednesday season 2 to far surpass season 1.

A Good Girl's Guide to Murder (2024)

Pip Fitz-Amobi, a determined young investigator, is set on uncovering the truth behind schoolgirl Andie Bell's murder five years prior. Sal Singh, Andie's boyfriend, confessed before his own death, but Pip doesn't believe he's guilty. Teaming up with Sal's brother Ravi, she dives into a web of secrets to find the real killer​.

Gerard Butler's 26% Rotten Tomatoes Vigilante Thriller Is Finally a Hit on Netflix

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The Big Picture

• Law Abiding Citizen is an action-packed thriller that keeps audiences on the edge of their seats.
• Despite mixed reviews, the film has found a new audience on Netflix, ranking in the top 10 internationally.
• Fans eagerly await news of a potential sequel to continue the story of revenge and justice.

More than a decade since its release, Gerard Butler ( Olympus Has Fallen ) and Jamie Foxx ’s ( Django Unchained ) high-octane action flick, Law Abiding Citizen has landed a new set of eyes and interest courtesy of Netflix. Sure, the movie may not have completely blown critics out of the water, holding it down on Rotten Tomatoes with a depressing 26%, but now it’s soaring alongside other hot titles on the streamer’s international Top 10 in the #5 spot. Butting heads every step of the way, Butler and Foxx’s characters ultimately both want to see justice handled properly in the F. Gary Gray -helmed feature, but have very different ways of getting it done.

Law Abiding Citizen follows Clyde Shelton (Butler), a grieving widower and father who was forced to helplessly stand by and watch the assaults and murders of his wife and daughter at the hands of Clarence Darby ( Christian Stolte ). The evidence that should land Darby a life behind bars and even the possibility of the death penalty is all there, but after law enforcement officials muck up the crime scene, the case’s prosecutor, Nick Rice (Foxx), has no choice but to cut a deal with the killer. Feeling completely abandoned by Rice and the justice system, Shelton holds onto the cards he was dealt, waiting 10 years before enacting his revenge on Darby. But, the grief-stricken man still has one person set in his sights, as he never forgave Rice for giving the depraved killer a second shot.

Along with Law Abiding Citizen ’s leading men, the movie is a real who’s who of A-list faces, with EGOT recipient Viola Davis ( The Woman King ) joining the ensemble as the Mayor of Philadelphia, Leslie Bibb ( Palm Royale ) as Rice’s assistant, Bruce McGill ( Collateral ) as the Philadelphia DA, Regina Hall (the Scary Movie franchise) as Rice’s wife and Michael Kelly ( House of Cards ) as a CIA agent.

The Future of ‘Law Abiding Citizen’

Don’t be fooled by the low Rotten Tomatoes score, as fans of action and the twisted dynamics between Foxx and Butler’s characters flocked to cinemas to see Law Abiding Citizen , earning it nearly $128 million against its $50 million production budget. Netflix isn’t the first time the film has had a notable resurgence either, as just two years ago, it was revealed that moves were being made for a follow-up film . Butler and his production company, G-Base, were initially attached to the project alongside his partner, Alan Siegel , with Lucas Foster and Kurt Wimmer also returning to co-pen the sequel. The Matrix franchise producers, Village Roadshow Pictures, were also leading the charge alongside Rivulet Media. Unfortunately, no further updates have come down the pipe since the initial announcement, so it’s unclear if the project will ever see the light of day.

Join the scores of Netflix subscribers who are breathing new life into Law Abiding Citizen as the movie is now streaming. U.S. audiences can check it out on Starz.

Law Abiding Citizen

A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free.

Watch On Starz

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