Love Affair (1939)

A Timeless Love Story Begins

Love Affair is one of classic Hollywood’s most cherished romantic films. Directed by Leo McCarey, the film weaves charm, wit, and heartache into a graceful narrative that explores love not only as a passionate connection but as a test of character, sacrifice, and emotional resilience.

Though perhaps less remembered by modern audiences than its 1957 remake (An Affair to Remember), Love Affair is the original blueprint for one of the most enduring romantic formulas in film history. With Irene Dunne and Charles Boyer at its centre, the film captures lightning in a bottle: a mature, soulful love story wrapped in graceful direction and tender performances.

Plot Summary

Michel Marnet (Charles Boyer) is a suave French playboy and famed artist with a reputation for wooing wealthy women. Terry McKay (Irene Dunne) is a sharp, sophisticated American singer. They meet aboard a transatlantic ocean liner headed from Europe to New York, both already entangled in other relationships.

Initially resistant to each other’s charm, the two begin a flirtatious friendship that slowly deepens into genuine love. By the time the ship docks in New York, they’ve fallen for each other, despite the emotional and moral complications of their existing relationships.

They make a pact: if they still feel the same after six months, they will meet at the top of the Empire State Building to begin a new life together—after each has had time to sort out their lives and pursue independence. But on the appointed day, tragedy strikes, altering the course of their plans and testing the strength of their bond.

Performances: Elegance, Emotion, and Undeniable Chemistry

Irene Dunne as Terry McKay

Dunne delivers one of the finest performances of her career. Her portrayal of Terry combines intelligence, emotional restraint, and warmth, creating a heroine who is more than just a romantic interest—she's a fully realized woman of depth and complexity. Dunne’s background in music adds richness to her performance; she even sings in several scenes, including a touching rendition of “Wishing.”

Dunne brings vulnerability and dignity to the film's most emotional scenes, especially in the final act, where Terry hides the consequences of a tragic accident from Michel out of pride and love. Her ability to express volumes with just a glance or slight shift in tone elevates the material into something timeless.

Charles Boyer as Michel Marnet

Boyer, with his Continental charm and soft-spoken delivery, is ideally cast. He plays Michel with a mix of cynicism and sincerity—an artist whose transformation from a self-absorbed celebrity to a man humbled by love feels natural and unforced. His chemistry with Dunne is palpable; their witty exchanges crackle with intelligence, and their quiet moments feel heartbreakingly intimate.

Maria Ouspenskaya as Grandmother Janou

In a small but crucial role, Maria Ouspenskaya plays Michel’s grandmother, who lives in the south of France. Her scenes with Terry are among the film’s most moving. The serene bond that forms between the two women provides emotional ballast and acts as a blessing on the couple’s love. Ouspenskaya, with her weathered elegance and spiritual presence, serves as the film’s moral and emotional compass.

Direction and Screenplay

Leo McCarey, who also co-wrote the screenplay, is a master of tone, seamlessly shifting between humour, romantic sparkle, and heartfelt drama. His direction is graceful and restrained, allowing the performances and the dialogue to carry the film without melodramatic excess.

McCarey infuses the story with a lyrical rhythm—especially during the shipboard scenes, which feel almost like a dance between two souls gradually awakening to one another. The New York sequence brings grounded emotional stakes, while the final act adds tragic poignancy without veering into sentimentality.

The screenplay, co-written with Delmer Daves and Donald Ogden Stewart, is filled with memorable lines and sophisticated wit. It treats its characters as adults with real desires, regrets, and emotional conflicts.

Themes and Analysis

Love as a Moral Awakening

Unlike many romances, Love Affair isn’t about infatuation—it’s about emotional transformation. Both Terry and Michel are asked to re-examine their lives, values, and commitments. Their love is not a reckless escape but a calling to become better, more authentic versions of themselves.

Fate and Timing

The film plays with the idea that love is not just about passion, but about the right time, the right maturity, and the courage to follow through. The six-month delay is symbolic—it forces the characters to examine whether their love is real or merely circumstantial.

Sacrifice and Pride

The final act of the film explores sacrifice and the pain of prideful silence. Terry’s decision not to tell Michel what happened to her is both noble and heartbreaking. The emotional payoff, when the truth is finally revealed, is earned through layers of subtle character work and cinematic restraint.

Cinematography and Production

Love Affair was shot in black and white, with elegant cinematography by Rudolph Maté, who frames the ocean liner sequences with romantic softness and captures the New York interiors with sophistication.

Though modest in its set design compared to later remakes, the film makes excellent use of its locations and atmosphere. The use of the Empire State Building as a romantic symbol was novel at the time and has since become iconic.

The film’s musical score, by Roy Webb, is understated and moving. Irene Dunne’s singing adds an emotional layer, reinforcing the idea of shared dreams and emotional resonance through music.

Legacy and Influence

Love Affair was a critical and commercial success in 1939, a year considered the peak of Hollywood's golden age. It was nominated for six Academy Awards, including:

Best Picture

Best Actress (Irene Dunne)

Best Supporting Actress (Maria Ouspenskaya)

Best Writing (Original Story)

Best Art Direction

Best Original Song ("Wishing")

The film was remade twice:

An Affair to Remember (1957) – Directed again by Leo McCarey, starring Cary Grant and Deborah Kerr. This version became even more famous due to its colour Cinemascope grandeur and inclusion in Sleepless in Seattle (1993).

Love Affair (1994) – A remake starring Warren Beatty and Annette Bening, which received a lukewarm reception.

Despite being overshadowed by its 1957 remake, the original Love Affair remains the more understated and emotionally mature film, appreciated for its subtlety and acting craftsmanship.

Conclusion: A Quiet Masterpiece of Romantic Cinema

Love Affair is not just a love story—it’s a meditation on personal growth, responsibility, and the redemptive power of love. Irene Dunne and Charles Boyer give two of the most gracefully rendered performances of the 1930s, and Leo McCarey's direction finds the perfect balance between wit and wistfulness.

This is a film that believes in soulmates, not through fate alone, but through effort, sacrifice, and time. It’s a romantic drama for adults—elegant, moving, and timeless.

A must-see for lovers of classic cinema and anyone who believes in love with depth, dignity, and a touch of destiny.