This is a wonderful old-time romantic film, though sadly it's been pretty much forgotten today. It's a real shame, because this is one of the best romantic movies of the 1930s--one that should be remembered.The film begins with Sir John Carteret (Leslie Howard) living all alone in his British mansion. He's been alone there with his memories for decades, though why exactly he lives this life of seclusion isn't totally clear. You know that his lady love, Moonyeen (now THAT'S an odd name), had died many years earlier and that he's been pining for her all along. Well, into this morgue-like life appears an old friend, Dr. Owen. Owen is there to tell Carteret that the niece of his dead love is now an orphan and in need of a home--and he brings the child to Carteret to be raised.Years have passed and now this child is a vivacious 22 year-old, Kathleen (Norma Shearer). She and her adopted father are quite happy and fortunately Carteret is less melancholy. Having Kathleen to raise has obviously lifted his spirits. That is, until Kathleen meets Kenneth Wayne (Frederic March). They fall almost instantly in love and everything seems great until Carteret learns of this. Then he reluctantly tells her a sad tale that he's kept to himself all these years. You finally learn what happened to Moonyeen. It seems that on her wedding day with Carteret, a jealous suitor (Kenneth's father) stormed into the wedding and tried to kill Carteret--accidentally killing Moonyeen in the process!! His bitterness about this understandably demands that Kathleen break off her relationship with Kenneth once and for all.Unfortunately, while she and Kenneth tried to call it quits, they were just too much in love. Try as they might, they couldn't ignore that they were head over heels in love. However, Carteret was determined to destroy this relationship at all cost--as he NEVER could forgive Kenneth for his father's heinous act. Where the story goes from there, you'll just have to see for yourself. It becomes a lot more complicated--particularly when Kenneth goes off to war. See this wonderful film for yourself to see how it all unfolds.There are a few silly clichés that prevent it from earning a 10, though this is still an amazing film. Having Moonyeen and Kathleen as well as Kenneth and his father played by the same actors was a silly but accepted cliché back in 1932. While the idea of a son looking exactly like his father is silly, having Kathleen look almost exactly like her aunt is even more ridiculous. Plus, having no British accent whatsoever for Kenneth's dad was also pretty silly (you could understand this with Kenneth, as he was raised in America).As to what there is to like, where do I begin? The film has such a luminous and romantic quality about it start to finish, I just couldn't get over it. Only MGM could have done such a perfect looking film during this era. Shearer is magnificent--and it might just be her best film (even better than THE WOMEN) and Howard and March are also quite good. The characters are lovely--very complex and tender. You just can't help but find yourself sucked into the film--so be sure to have a box of Kleenex nearby. An amazing film.By the way, towards the end, you can sure see that one of the plot twists was later reused in the great love story LOVE AFFAIR (with Iren Dunne and Charles Boyer, 1939) as well as in LOVE AFFAIR's remake, AN AFFAIR TO REMEMBER. Wow. Think about seeing LOVE AFFAIR followed by SMILIN' THROUGH--now that would be a terrific double-bill.

This Is by far the best of the three versions of the story. Shearer, March and Howard are all Magnificent. There are really two unforgettably touching parts of the film. The first is the flashback sequence on the eve of the wedding where Howard and Shearer behave like children in love and when she dies at their wedding it almost seems like Shearer has better chemistry as Moonyean with Howard than she dose as Kathleen with March either way she is a brilliant and underrated actress. The other and most moving part of the film is the unforgettable and tear jerking end when Howard and Shearer reunite in death. If one can sit through this movie and not be even a little choked up by the end, then they must be pretty cold. This is yet another example of the days gone by but not forgotten and the fact that they don't make them like this anymore. A definite 10

I cannot imagine a movie being classier than this one. The lilting mood of the story is felt all the way through the film until its closing moments. The swell of music followed by the appearance of a 'The End' card, like a surrendered afterthought on the screen, make Smilin' Through seem as if MGM meant to deliver a movie on a cloud in 1932. Fredric March and Norma Shearer's conversations have a sense of 'sway' or dance about them. From her refusal to see his soldier off at the train station then following him there in the very next scene to his simple but imploring, "There's a war on, and I'm in it!", the well-drawn characters demonstrate nobility, humor, and attachment to each other that are poetic in their simplicity. Even an elderly man, as painted by Leslie Howard's portrayal, commits his loving then selfish then last surprising acts with grace. Director, Sidney Franklin motions us into the fold to experience the drama alongside the characters with his special touches: distant gunfire rattling windows, doors shutting on a church shooting while we wait for them to be reopened to discover how the characters are reacting. No leotards or shades of pink are glimpsed here, but surely we have been to a ballet of sorts.

A big hit at the time of it's release, it was nominated for an Academy Award for best picture of that year. It still holds up, thanks to the timeless performance of Norma Shearer.