Maybe the H. L. Mencken novel makes more sense but I found this filmed version to be a mishmash.Paul Henreid is fair as a bookish failed artist obsessed with a lower-class waitress, played with extreme crudeness and haughtiness by Eleanor Parker. His self-esteem, laid low by a club foot, has left him convinced he deserves no better.I had a problem with the casting and characterization here. It's never the least bit clear what Philip sees in Mildred, who doesn't even try to fake any charm. She's dowdy waiting tables, and a plain Jane to boot! Overlooking the lack of believability, there is a ring of truth to what is being said here about male-female relationships. Beautiful, glamorous, smart Alexis Smith DOES like Philip, but he doesn't appreciate her. "For months I've been starved for beauty!" he complains to her, after, yes, spending months with her. "If you want men to behave well to you, you must be beastly to them," Nora laments, in words that must ring true for every single woman out there today. "If you treat them decently, they make you suffer for it." The story suffers in many tiring plot twists that make Philip out to be a kind of ping-pong ball, bouncing toward Miserable Mildred and then away from her, contingent on whatever abuse she's flinging at the moment. Philip is a very sick person, and so is she. (One pities the baby girl she is raising to face, we can only assume, her same exact fate.) Then we must also sit through Philip's weekly visits to the home of Altheny, played by a repetitious and pedantic Edmund Gwenn. He deems his oldest daughter to be a good match for Philip, and he hints at it incessantly.None of this hangs together very well. And, despite the unlikely marriage proposal, I don't think Philip and the daughter will fare well together. One doesn't transform from being a doormat-in-denial to domestic bliss so magically.But the director would have us believe such claptrap. As if!

Of the three film versions of "Of Human Bondage" this is probably the least known. Critics at the time found it dull and compared it unfavourably with the 1934 version starring Bette Davis and Leslie Howard. On the contrary, I think that this version is more complex, more interesting and ultimately more satisfying than that earlier film.All versions chart the course of the destructive, one-sided relationship between medical student Philip Carey, played here by Paul Henreid, and working class waitress Mildred Rogers played by Eleanor Parker. But after his self-esteem reaches its lowest ebb, two far more caring women enter his life, one he rejects almost as cruelly as he himself was rejected, while the other provides him with the happiness he has searched for.For anyone who has read Somerset Maugham's novel, the film versions all share the same drawback; they only concentrate on one aspect of the novel - the unrequited and obsessive love of Philip Carey for Mildred Rogers. This is the most fascinating part of the novel to be sure, but it doesn't take place until about half way through the book. By the time it happens, we know a lot about Philip Carey - we have followed him from childhood, understand the sensitivity about his clubfoot, and identify with him totally. When he encounters Mildred Rogers and is rejected by her, we are as shocked as he is at the effect it has on his sense of self-worth and his life from that point on. No one has ever described the anguish that such a one-sided affair can unleash better than Maugham in this extraordinary novel - Sigmund Freud couldn't have done a more insightful job.And therein lies the challenge for the filmmakers because they all want to leap straight into the Philip and Mildred affair; there is no real build up, we are only vaguely aware of the vulnerabilities, and even the vanities that have been nurtured in Philip that could lead him into so destructive a relationship.With that said, after a slow start, this version of the story does become quite compelling. However it could have done without the narration, which doesn't even start until after Philip meets Mildred. The filmmakers should have worked a little harder to explain things without resorting to narration, which both the 1934 and 1964 versions managed to do.Paul Henreid was too old for the part - it's almost as though he was going through mid-life crisis - and his accent needed explaining. Fortunately, he had a strong enough screen presence to carry it off.Critics considered Eleanor Parker's performance weak when compared to Bette Davis's showier one in the 1934 version, but she handles it pretty well on the whole. She is possibly a little too strident, and like Davis struggled to deliver a decent Cockney accent. For anyone who has seen the 1964 version, it's interesting to compare her with Kim Novak who gave a very subdued performance, which didn't seem right at all. Possibly the forced, slightly neurotic quality in Parker's performance actually caught the spirit of Mildred Rogers all too well.Although not without fault, this version of Maugham's great novel is better than the critics would allow, and is certainly a film that rewards at least one viewing.

W. Somerset Maughan wrote a great novel about the complexity of human relations. It's amazing how a person can lose his soul when possessed by a passion that will consume everything. Which is why one feels such compassion for Philip Carey, the man whose love for the tragic Mildred Rogers will almost destroy him.In comparison with the John Cromwell's 1934 version starring Bette Davis and Leslie Howard, this 1946 take on the novel, as adapted by Catherine Turney and directed by Edmund Goulding, pales somewhat. Not that this is a terrible film, on the contrary, it has some good points, but the essence of the novel is not as poignant as the other film made clear. In fact, Hollywood in the early version was freer from the censure that the second film, shot under the Hays Code, had. It sort of makes the action lose reality.The other thing that is notable in the movie is the different interpretations of Englis accents spoken by most of the actors. Another failure of the film was to have Paul Henried cast to play Philip. He was a man much older to play the character, as Neil Doyle has pointed out in his comment. Eleanor Parker, who plays Mildred, was not in the same league as Bette Davis, although she struggles to make a go with the role.The film makers "cleaned up" the basic problem with Mildred's character. Nothing is ever mentioned about her prostitution. Her outburst in thrashing Philip's apartment should have been more effective as a confrontation where all her venom should have bee directed at the man she deeply hated, in spite of all the kindness she received from him.While the film holds the viewer interested, we always found ourselves thinking how much better it could have been.

***SPOILERS*** Decent re-make of the 1934 film classic that stared Leslie Howard and Bettie Davis about a young man enslaved by the love that he has for a women who has nothing but contempt for him and uses him for her own greedy and selfish purposes.Paul Henreid seems a bit too old as the young artist Philip Cary who gives up art after struggling two years in Paris without being able to sell a single painting. Philip goes back to his native England to take up medicine and become a doctor like his late father. Eleanor Parker does a fine job of acting as the cold and unfeeling young waitress Mildred Rogers who rebuffs poor Philip and then uses him to help herself in the string of tragedies she gets herself into in the course of the movie. Seeing Mildred at a local tea room in London Philip becomes infatuated with her even though she want nothing to do with him. Getting Mildred to go to the theater with him one Satuerday night Philip falls so madly in love with her. Philip is so crazily in love with Mildred that she tells him, just to get him out of her life, one evening thats she's getting married to one of the patrons at the tea room that she's been flirting with; Emil Miller, Richard Nugent. Hurt and dejected Philip starts to overcome his fascination with Mildred and later meets Nora Nesbitt, Alexis Smith, a writer that he knew as a young art student in Paris and develops a loving relationship with her. With everything going fine for the two young lovers all of a sudden Mildred steps right back into Philip's life. Having been thrown out of the house by Mr. Miller and left pregnant by him Mildred wan't Philip back and would do anything to have him accept her back as his lover. Which she never was in the first place. Philip takes Mildred back at the expense of the shocked and hurt Nora who he leaves out in the cold. As the days go by and Philip asks Mildred for her hand in matrimony she go back to her old ways. Mildred starts to abuse him so much that she flirts and snuggles up to his best friend Griffiths, Patric Knowles, right in front of the hurt and humiliated Philip at a neighborhood restaurant.With all the abuse he takes from Mildred and the insecure feelings he has about himself Philips suffer every insult and put-down Mildred throws at him to the point where he at last loses the love that he had for her all this time. One cold and rainy Christmas Eve Philip leaves his apartment, as Mildred in an insane rage totally wrecks it, and goes to see the only people who showed any love or kindness towards him the Athenlys. Who's father Mr. Athenly he treated in the local hospital that he work at.Invited to come back the next day for a Christmas Dinner Philip, broke and homeless, falls victim to pneumonia and almost dies. Later with the help of his friend and fellow doctor Griffiths Philip is brought back to health. Back on his feet and with Mildred out of his life Philip finds the true love that he searched for all of his life but never realized Mr. Athelny's young and beautiful daughter Sally, Jans Paige,who was always in love with him. Later together with Sally and her family Philip puts the broken pieces of his life, and heart, back together. Mildred is later found by Philip at the very hospital that he's a doctor in dying from the lifestyle that she choose to live. Having already having lost her young daughter Mildred dies knowing that the person who could have saved her from this tragedy was the one that she treated like dirt all the time that he loved her. Powerful drama by writer W. Somerset Maugham thats as moving and touching now as it was when it was first published back in 1915 that proves the old saying: "He has the strength of ten because his heart is pure" and thats exactly what Philip Cary had.