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Now, Voyager - Full Cast & Crew

• 70   Metascore
• 2 hr 0 mins
• Drama, Comedy
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A neurotic, unmarried woman chafing under a domineering mother is helped by an eminent psychiatrist, who instills self-confidence in her, which is put to the test when she falls in love with an unhappily married man. Bette Davis was nominated for Best Actress as the daughter and Gladys Cooper got a Best Supporting Actress nod as her mother. The film's title is from a line in Walt Whitman's "Leaves of Grass."

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Music director, cinematographer, production company, art director, sound/sound designer, special effects.

Now, Voyager

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Brief Synopsis

Cast & crew, irving rapper, bette davis, paul henreid, claude rains, gladys cooper, bonita granville, photos & videos, technical specs.

Dowdy, thirtyish Charlotte Vale lives with her dictatorial, aristocratic mother in a Boston mansion. Fearing that Charlotte is on the verge of a nervous breakdown, her sister-in-law Lisa brings psychiatrist Dr. Jaquith to the Vale home to examine her unobtrusively. Jaquith's observations and conversation with Charlotte convince him that she is, in fact, very ill, and he recommends that she visit his sanitarium, Cascade. Away from her domineering mother, Charlotte recovers quickly, but does not feel ready to return home and accepts Lisa's proposal of a long cruise as an alternative. On board the ship, a newly chic Charlotte is introduced to Jerry Durrance, who is also traveling alone. The two spend a day sight-seeing together, during which time the married Jerry asks Charlotte to help him choose gifts for his two daughters. Charlotte is touched when Jerry thanks her with a small bottle of perfume. Subsequently, Charlotte tells Jerry about her family and her breakdown and learns from his good friends, Deb and Frank McIntyre, that Jerry is unhappily married but will never leave his family. After the ship docks in Rio de Janeiro, Jerry and Charlotte become stranded on Sugarloaf Mountain and spend the night together. Having missed her boat, Charlotte stays with Jerry in Rio for five days before flying to Buenos Aires to rejoin the cruise. Although they have fallen in love, they promise not to see each other again. Back in Boston, Charlotte's family is stunned by her transformation. Her mother, however, is determined to regain control over her daughter. Charlotte's resolve to remain independent is strengthened by the timely arrival of some camellias. Although there is no card, Charlotte knows the flowers are from Jerry because he had called her by the nickname "Camille," and, reminded of his love, she is able to forge a new relationship with her mother. Charlotte eventually becomes engaged to eligible widower Elliot Livingston. One night, at a party, Charlotte encounters Jerry, who is now working as an architect, a profession he had renounced years before in deference to his wife's wishes. His youngest daughter Tina is now seeing Dr. Jaquith for her own emotional problems. Charlotte asks Jerry not to blame himself for their affair as she gained much from knowing that he loved her. This chance encounter forces Charlotte to realize that she does not love Elliot passionately, and they break their engagement, so angering Mrs. Vale that during an argument with Charlotte, she has a heart attack and dies. Guilty and distraught, Charlotte returns to Cascade, where she meets Tina. Seeing herself in the girl, Charlotte takes charge of her, with Jaquith's tentative approval. When Tina improves enough, Charlotte takes her home to Boston. Later, Jerry and Jaquith visit the Vale home, and Jerry is delighted by the change in Tina. Charlotte warns him, however, that she is only able to keep Tina with her on condition that she and Jerry end their affair. Jerry believes that he is responsible for her decision not to marry Elliot, but Charlotte reassures him otherwise, saying that Tina is his gift to her and her way of being close to him. Jerry then asks if Charlotte is happy and she responds, "Well, Jerry, don't let's ask for the moon; we have the stars."

Lee Patrick

Franklin Pangborn

Katherine Alexander

James Rennie

Mary Wickes

Michael ames.

Charles Drake

David clyde.

Frank Puglia

Janis wilson, claire du brey.

Don Douglas

Charlotte wynters, lester matthews, sheila hayward, bill edwards, isabel withers, yola d'avril, georges renavent, bill kennedy, reed hadley, elspeth dudgeon, george lessey.

Constance Purdy

Corbet morris, hilda plowright, tempe pigott, dorothy vaughan, martha acker, al alleborn, eddie allen, george becker, edward blatt, meta carpenter, phyllis clark, joseph cramer, emmett emerson, frank evans, leo f. forbstein, hugh friedhofer, robert haas, robert b. lee, rydo loshak, fred m. maclean, scotty more, harold noyes, charles o'bannon, casey robinson, marguerite royce, sherry shourds, gilbert souto, max steiner, willard van enger, perc westmore, photo collections.

Hosted Intro

Award Nominations

Best actress, best supporting actress, the essentials - now, voyager.

Pop Culture 101 - Now, Voyager

Trivia - now, voyager - trivia & fun facts about now, voyager, trivia - now, voyager - trivia & fun facts about now, voyager, the big idea - now, voyager, behind the camera - now, voyager, critics' corner - now, voyager, critics' corner - now, voyager.

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

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

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

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

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

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

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

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

Producer Hal B. Wallis originally wanted Irene Dunne for the lead role, but Bette Davis convinced him otherwise.

The Walt Whitman poem Bette Davis reads (just before leaving Cascades) is "The Untold Want" from Songs of Parting (just 2 lines): "The untold want by life and land ne'er granted / Now voyager sail thou forth to seek and find."

Bette Davis complained about 'Max Steiner' 's Academy Award-winning musical score, saying that it was too intrusive on her performance.

The film is remembered for the scene in which Paul Henreid places two cigarettes in his mouth, lights them, and then passes one to Bette Davis, but it wasn't an original idea - a similar exchange occurred ten years earlier between Davis and 'George Brent' in _Rich Are Always With Us, The (1932)_ .

The title of Olive Higgins Prouty's novel was taken from Walt Whitman's poem "The Untold Want." In a letter to literary agent Harold Ober included in the Warner Bros. Collection at the USC Cinema-Television Library, Prouty made the following suggestions about the novel's adaptation: "...In my novel I tell my story by the method of frequent flashbacks....It has occurred to me, however, that by employing the silent picture for the flashbacks, in combination with the talking picture, similar results can be accomplished, and with much interest to an audience because of the novelty of the technique....I am one of those who believe the silent picture had artistic potentialities which the talking picture lacks. The acting, facial expressions, every move and gesture is more significant....Of course the silent picture has 'gone out' now, but I believe it has a place, for depicting what goes on in the mind of a character...."        Various contemporary sources add the following information about the production: Mary Astor was first signed as the second female lead and Norma Shearer and Irene Dunne were approached to play the role of "Charlotte." Producer Hal Wallis sent Ginger Rogers a copy of Olive Higgins Prouty's novel, hoping to interest her in the film. Juanita Quigley tested for the role of "Tina." Director Edmund Goulding wrote a treatment for the film and, at that time, was scheduled to direct; later Michael Curtiz was assigned to direct the film. Some scenes were filmed on location in Laguna Beach, CA and the Cascade scenes were filmed at Lake Arrowhead, CA. Although Frank Puglia's character is called "Giovanni" in the film, contemporary reviews, the screenplay and the CBCS list it as "Manoel."        According to modern sources, Prouty had written an elaborate cigarette-lighting ceremony for her characters, which proved too awkward to complete on film. In its place, Henreid invented a romantic gesture which has since become famous. He lit two cigarettes at the same time and handed one of the cigarettes to "Charlotte." Modern feminist critics have described Now Voyager as an "initiation" or "coming of age" film in which a psychologically immature woman becomes a self-determining adult and comment favorably on the accurate depiction of the mother-daughter relationship. Although contemporary critics derided the film as contrived and melodramatic, it was Warner Bros. fourth-highest grossing film in 1942 and has enjoyed an enduring popularity. Max Steiner won an Oscar for Best Score, and both Gladys Cooper and Bette Davis were nominated for Academy Awards. The film was adapted for radio and, starring Bette Davis and Gregory Peck, was broadcast on The Lux Radio Theatre on February 11, 1946 and May 24, 1955.

Miscellaneous Notes

Released in United States 1942

Released in United States on Video April 5, 1988

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Now, Voyager

1942, Drama, 1h 57m

What to know

Critics Consensus

Now, Voyager is a Hollywood swooner with Bette Davis and Paul Henreid in a melodrama to end all melomers. Read critic reviews

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Now, voyager   photos.

Boston heiress Charlotte Vale (Bette Davis) is a neurotic mess, largely because of her domineering mother (Gladys Cooper). But after a stint in a sanatorium where she receives the attention of Dr. Jasquith (Claude Rains), Charlotte comes out of her shell and elects to go on a cruise. Aboard ship she meets Jerry (Paul Henreid) and falls in love, despite his being married. They enjoy a brief tryst in Rio before returning to the States, where Charlotte struggles to forget him and find happiness.

Genre: Drama

Original Language: English

Director: Irving Rapper

Producer: Hal B. Wallis

Writer: Olive Higgins Prouty , Casey Robinson

Release Date (Theaters): Oct 22, 1942  limited

Release Date (Streaming): Sep 1, 2009

Runtime: 1h 57m

Production Co: Warner Brothers

Sound Mix: Mono

Aspect Ratio: 35mm

Cast & Crew

Bette Davis

Charlotte Vale

Claude Rains

Dr. Jaquith

Paul Henreid

Jerry Durrance

Gladys Cooper

Mrs. Henry Windle Vale

Bonita Granville

Elliot Livingston

Lee Patrick

Deb McIntyre

Mary Wickes

Nurse Dora Pickford

Janis Wilson

Tina Durrance (uncredited)

Irving Rapper

Olive Higgins Prouty

Casey Robinson

Screenwriter

Hal B. Wallis

Max Steiner

Original Music

Cinematographer

Film Editing

Robert M. Haas

Art Director

Fred M. MacLean

Set Decoration

Costume Design

Perc Westmore

Makeup Artist

Edward A. Blatt

Dialogue Editor

Robert B. Lee

Willard Van Enger

Special Effects

Audrey Scott

Leo F. Forbstein

Musical Director

News & Interviews for Now, Voyager

Know Your Critic: Angelica Jade Bastién, Critic at Vulture/ New York Magazine

Sherlock Season 4, Master of None Season 2, Enemy of the State , and More on Netflix This Week

Critic Reviews for Now, Voyager

Audience reviews for now, voyager.

I've avoid seeing this film for years. But, I'm glad I finally got to screen it. Bette Davis is super in this role. There's a depth to her performance that lovers of acting will surely appreciate.

Davis gives a remarkable performance both big and filled with subtle nuances. The over-quoted ending scene feels a bit silly but most of what comes before is a convincing narrative about becoming the best version of oneself even if that means alienating others.

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.

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.

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The full cast of Now, Voyager

Here you will find an overview of the cast of the movie Now, Voyager from the year 1942, including all the actors, actresses and the director. When you click on the name of an actor, actress or director from the movie Now, Voyager-cast you can watch more movies and/or series by him or her. Click here for more infomation about the movie.

We have made an overview that includes: actors , directors , the production team , the camera team , writers and other crew members .

Irving Rapper

Edward A. Blatt

Olive Higgins Prouty

Casey Robinson

Actors & actresses.

Bette Davis

Paul Henreid

Claude Rains

Gladys Cooper

Bonita Granville

Lee Patrick

Franklin Pangborn

Katharine Alexander

James Rennie

Mary Wickes

Tod Andrews

Brooks Benedict

Yola d'Avril

Charles Drake

Claire Du Brey

Elspeth Dudgeon

Bill Edwards

Bess Flowers

George Lessey

Tempe Pigott

Frank Puglia

Constance Purdy

Janis Wilson

Artistic design

Robert M. Haas

Fred M. MacLean

Costume & makeup

Perc Westmore

Rydo Loshak

Willard Van Enger

Movie editing.

Hal B. Wallis

Hugo Friedhofer

Leo F. Forbstein

Max Steiner

Robert B. Lee

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Now, Voyager (1942) Cast and Crew

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“Now, Voyager”: Why the 1942 screen classic with Bette Davis and Paul Henreid will never age

“Box office dynamite—that’s ‘Now, Voyager’.” Those are the first words of Naka ‘s “Now Voyager” Variety film review, as published August 19, 1942. Continuing in the very same review: ‘Here is drama heavily steeped in the emotional tide that has swept its star, Bette Davis, to her present crest, and it’s the kind of drama that maintains Warners’ pattern for box office success. (…) It affords Miss Davis one of her superlative acting roles, that of a neurotic spinster fighting to free herself from the shackles of a tyrannical mother. (…)  For Henreid, perhaps, this is his top role in American pictures; he neatly dovetails and makes believable the sometimes underplayed character of the man who finds love too late.’

The film tells the story of Boston heiress Charlotte Vale (in the beginning unglamorously portrayed by Bette Davis), a sheltered, frumpy, and middle-aged neurotic who is driven to a nervous breakdown by her domineering mother (Gladys Cooper), but with the help of a soft-spoken idealized therapist (Claude Rains), she is transformed into a modern, secure and attractive young woman. During an ocean voyage to South America, she meets a suave man, Jerry Durrance (Paul Henreid), and blooms as a woman. Durrance, unhappily married to a woman he dares not to hurt, has a young daughter Tina (played by the then twelve-year-old promising juvenile actress Janis Wilson in an uncredited role). She is an emotionally depressed child victimized by the insecurity of their unsettled home. Ultimately, Charlotte Vale and Jerry Durrance end up in a platonic relationship in which she keeps Tina, who in the meantime, is in the process of recovering, while Henreid stays with his unwanted wife.

“Now, Voyager” is an unabashed first-rate soap opera—or a woman’s picture, if you wish—and as such, it’s one of the very best of its kind, thanks to Warner Bros. expertise. At the same time, the powerful drama is backed by Max Steiner’s lush and Academy Award-winning musical score which is almost as much a part of the film as the actors. Bette Davis, one of Hollywood’s queens in the 1940s, made the film’s heroine a touching, dignified, and truly believable woman.

Miss Davis was not the first choice to play the role of Charlotte Vale, though. Irene Dunne, along with Charles Boyer, her co-star in “Love Affair” (1939), were considered to be perfect for the leading roles. Producer Hal B. Wallis also offered the female lead to Norma Shearer, and although she was fond of it, she had already made up her mind to retire from the screen after George Cukor’s “Her Cardboard Lover” (1942), due to her eye problems. When Irene Dunne heard that the script had also been discussed with Norma Shearer, she declined as well, fearing that both actresses were played against each other. Then Ginger Rogers was offered the part. She liked it, but weeks passed by for her to reply, and even after Wallis sent her a wire while she was on her ranch on the Rogue River, she did not respond, so finally the part went to Bette Davis, who was eager to play it.

One of the most famous and landmark scenes of the film is when Paul Henreid lights two cigarettes simultaneously and gallantly hands one of the cigarettes to Bette Davis, thereby starting a new custom (in an era when people obviously weren’t aware of the danger of smoking). The film became highly successful: “Now, Voyager” was Warner Bros.’s fourth biggest grossing film of 1942.

Compared to the then-established two-time Academy Award-winner Bette Davis, Mr. Henreid only had a few years of experience in Hollywood. After leaving Austria in the mid-1930s, he first settled in London and then moved on to the West Coast. So, although pretty much a newcomer in Hollywood when “Now, Voyager” was made, his performance was well-received. The New York Herald Tribune wrote, ‘Paul Henreid achieves his full stature as a romantic star’ while Time praised him as ‘Hollywood’s likeliest leading man who acts like a kind and morally responsible human being.’

In his autobiography “Ladies Man” (1984), Paul Henreid remembers Bette Davis as ‘a solid master of her craft’: “I found her a delight to work with, and we got along famously. In fact, a very close friendship started between us, and she remained a dear, close friend—and always a very decent human being.” The atmosphere on the set was amiable and supportive, although Miss Davis did have problems with her co-star Bonita Granville (who played the part of Charlotte’s young niece June Vale). “She was bitchy in the film and off. I don’t remember the details, but she struck me as flighty and gossipy,” she told Boze Hadleigh in his interview book “Bette Davis Speaks” (1996).

Principal photography of “Now, Voyager” began on the Warner lot on April 7, 1942, and ended on June 23, with retakes on July 3. The film was released in the U.S. on October 31, 1942. “Casablanca,” another Hal B. Wallis production, also starring Paul Henreid and Claude Rains (a frequent performer in Wallis’ pictures), was released a few months later on January 23, 1943, and was almost shot simultaneously at Warner Bros., from May 25 until August 3. Over the years, “Casablanca” gained a more popular following than “Now, Voyager” did; in 1998, a novel entitled “As Times Goes By,” written by Michael Walsh for Warner Books, follows the characters of Rick, Ilsa, Victor (Paul Henreid), Sam, and Louis (Claude Rains) after they left Casablanca.

When originally scheduled to direct “Now, Voyager,” filmmaker Edmund Goulding wrote a treatment for the film, but he fell ill and was unable to direct the film. Michael Curtiz then was assigned as director, as soon as he had finished shooting another Wallis production called “Yankee Doodle Dandy” (1942) with James Cagney. Still, from the very start, it became clear that Curtiz and Bette Davis couldn’t get along. Finally, producer Hal B. Wallis decided to go with a new director, London-born Irving Rapper. “He was a pleasant, amusing Englishman. He liked Bette, and she liked him,” Wallis recalled in “Starmaker,” his 1989 mémoires . Irving Rapper was a vocal coach, dialogue director, and assistant director in the 1930s who, prior to “Now, Voyager,” had directed only three features, including “One Foot in Heaven” (1941) starring Fredric March and Martha Scott, and “The Gay Sisters” (1942) with Barbara Stanwyck. In the end, just like Bette Davis, he was not the first choice by all means, but he turned out to be the right one.

Four years later, Irving Rapper and his three leading actors from “Now, Voyager”—Bette Davis, Paul Henreid, and Claude Rains (Davis’ favorite co-star)—were reunited with the drama “Deception,” also made at Warner Bros. (this one without Hal B. Wallis). In 1964, Paul Henreid directed Bette Davis (playing twin sisters) in the crime drama “Dead Ringer,” with his daughter Monika Henreid playing a supporting role.

Irving Rapper and Bette Davis later worked together again in “The Corn Is Green” and “Another Man’s Posion’ (1951). “Irving has directed some of my best pictures,” she said in later interviews.

Author Olive Higgins Prouty wrote four novels about the wealthy Vale family in Boston (“Now, Voyager” being the third). She sold the “Voyager” rights to Wallis for $35,000 in October 1941, and made several suggestions. She preferred Technicolor to be used, with the flashbacks shown in subdued colors as if seen through a veil, and she had laid down a scheme for particular sequences. Wallis decided to go ahead and ignore them completely, but after she had seen the film in her New England home with twenty-five friends, ‘all of them applauded,’ Wallis wrote in his autobiography. She wrote him a letter, saying that ‘the plot follows very closely that of my book and the personalities of the various characters have been carefully observed and preserved.’

Finally, film director Irving Rapper, born in 1898 in London, passed away at age 101 in 1999 in Woodland Hills, California, of natural causes. Never really in the spotlights, there’s not too much written about him. Authors Charles Higham and Joel Greenberg did include him in their interview book “The Celluloid Muse: Hollywood Directors Speak” (1969), a collection of fifteen interviews with film directors who spent most of their careers working in Hollywood. In their introduction of the Irving Rapper interview, they describe his whereabouts at the time of the interview: ‘Irving Rapper’s apartment is set high in a glistening white building in the very heart of Hollywood. Only a stone’s throw from Hollywood Boulevard, with its seedy spangle of light-signs,  its driven restless sixties people, and its ever-skulking hustlers, Rapper inhabits a seemingly sealed-off forties world. As so often in Hollywood, fantasy and reality seem one, so that as you enter the hall, where a super-efficient blonde announces your arrival directly from the reception desk to the host’s telephone, you could easily be in a scene from a vintage Bette Davis picture, and you half expect to see her charge stormily at any moment through the glass window doors, ready for an argument with David Brian or Bruce Bennett—those lost figures of Hollywood’s past. Chez Rapper, the atmosphere of that past exists. Comfortably plump and relaxed, with an elegant and cultivated personality, he is utterly unlike the brisk new generation of grey-suited, fiercely efficient Hollywood men. (…) Like so many Hollywood talents, he has been put firmly—and one hopes only temporarily—on the shelf by the newest generation, but looking round his apartment, you see the compensations: Chinese lampstands ‘fit for a museum,” magnificent paintings crowded tightly up of a wall, a louvered cocktail recess, an atmosphere of spacious, glossy luxury. And beyond the great windows and the penthouse balcony, the whispering traffic, the horn-bleeps and the diamond shine of an ocean of lights: Los Angeles.’

Just for the record, even though “Now, Voyager” isn’t mentioned in AFI’s list of 100 Greatest American Films of All Time, the film ranks at #23 in AFI’s 100 Greatest Love Stories of All Time, while Bette Davis’ closing line, ‘Oh, Jerry, don’t let’s ask for the moon… we have the stars!’ is at #46 in AFI’s Greatest Movie Quotes of All Time. In 2007, “Now, Voyager” was selected for preservation in the United States National Film Registry by the Library of Congress as being ‘culturally, historically, or aesthetically significant.’

“Now, Voyager” (1942, trailer)

NOW, VOYAGER (1942) DIR Irving Rapper PROD Hal B. Wallis SCR Casey Robinson (novel ‘Now, Voyager’ [1941] by Olive Higgins Prouty) CAM Sol Polito MUS Max Steiner ED Warren Low CAST Bette Davis ( Charlotte Vale ), Paul Henreid ( Jerry Durrance ), Claude Rains ( Doctor Jaquith ), Gladys Cooper ( Mrs. Vale ), Bonita Granville ( June Vale ), John Loder ( Elliott Livingston ), Ilka Chase ( Lisa Vale ), Mary Wickes ( Dora Pickford ), Janis Wilson ( Tina Durrance )

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Now, voyager.

1942 Directed by Irving Rapper

It happens in the best of families. But you'd never think it could happen to her!

A woman suffers a nervous breakdown and an oppressive mother before being freed by the love of a man she meets on a cruise.

Bette Davis Paul Henreid Claude Rains Gladys Cooper Bonita Granville John Loder Ilka Chase Lee Patrick Franklin Pangborn Katharine Alexander James Rennie Mary Wickes Tod Andrews Brooks Benedict Yola d'Avril Charles Drake Claire Du Brey Elspeth Dudgeon Bill Edwards Mary Field Bess Flowers George Lessey Tempe Pigott Frank Puglia Constance Purdy Janis Wilson Ian Wolfe

Director Director

Irving Rapper

Producer Producer

Hal B. Wallis

Writer Writer

Casey Robinson

Original Writer Original Writer

Olive Higgins Prouty

Editor Editor

Cinematography cinematography, art direction art direction.

Robert M. Haas

Set Decoration Set Decoration

Fred M. MacLean

Special Effects Special Effects

Willard Van Enger

Composer Composer

Max Steiner

Sound Sound

Robert B. Lee

Costume Design Costume Design

Makeup makeup.

Perc Westmore

Warner Bros. Pictures

Primary Language

Spoken languages.

English Portuguese

Releases by Date

Theatrical limited, 22 oct 1942, 31 oct 1942, 05 nov 1943, 02 mar 1950, releases by country.

• Theatrical U
• Theatrical limited NR New York City, New York
• Theatrical NR

117 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Connie ★★★★½ 4

PAUL HENREID LIGHTING UP TWO CIGARETTES IN HIS MOUTH AT THE SAME TIME; LIKE IF YOU AGREE.

Review by Alex Kittle ★★★★ 2

Very interested in Claude Rains's magic psychiatry that cures nervous women of their bad eyesight so they don't have to wear glasses anymore.

Review by Chris 🍉 ★★★★★

"I'll look for you around every corner"

I'm literally about to fucking explode I haven't cried this much in months... ladies we will overcome the damage our parents did to us we will learn to love, be loved, and even be happy

Review by Toni ★★★★★ 1

They really made a movie about abused girls healing, setting boundaries, and finding love and community in 1942. How bout that.

Review by toni ★★★★ 2

This review may contain spoilers. I can handle the truth.

i’m sorry i laughed when Bette Davis’s mom fell down the stairs loll bitch deserved it

Review by phoebe 💫 ★★★★ 1

I don’t smoke but if someone ever lit two cigarettes in their mouth and handed one to me I would accept it as the most intimate act of unspoken love and probably marry them right then and there and THAT’S Now Voyager ’s influence

Review by Sara Clements ★★★★½

i want charlotte vale to adopt me

Review by Timcop ★★★★

::phone rings::

"Hello? Yes, this is the character portrayed by Paul Henreid in NOW, VOYAGER. What's that? Oh, yes, you're the doctor from the sanitarium where my young daughter is a patient. What's that, doctor? You've fired the nurse looking after my daughter? And…you're going to let the patient next door to my daughter be in charge of my daughter's care? Uh-huh. I see. And then you're going to let my daughter move in with them at the beginning of the fall. Right. Also, you've arranged to have my daughter's braces removed by an orthodontist in Boston whom I have not met. Uh-huh. Interesting. Well, I see nothing wrong here, go right ahead. Pleasure talking to you, good day."

::hangs up phone::

Review by sarah ★★★★ 2

"...all people are alone in some ways and some people are alone in all ways..."

I had trouble with this film two years ago. It was hard for me to reconcile the depiction of old maids and “ugly ducklings” with the idea that adhering to a patriarchal sense of beauty brings one freedom— it all felt so contradictory. But I think this rewatch has mended my line of thinking somewhat, because even though there is definitely a conversation to be had about Classic Hollywood’s view of spinsters and unconventional beauty standards, this film is very much about independence. Bette Davis, in her best performance, can only achieve this by completely releasing herself from her mother’s solid grip, and, even then,…

Review by Kayla ★★★★

what if we were on a cruise and there was only one cabin left 😳🙈 and we’re both traveling alone and my hot ass happens to be paul henreid 😳😳

Review by SilentDawn ★★★★½ 1

When you get right down to it, all I need to say about Now, Voyager is that it stars Bette Davis, Paul Henreid, and Claude Rains, that sentence alone should have you running to rent or buy this, but there's a great deal to admire about the film beyond the strong casting of such a melodramatic trio. For one, it's a 40s romantic drama that is less about a woman's desire to be loved and accepted by men than it is a journey of her own self-acceptance. The main tension is not necessarily found with Charlotte's love interests but with her domineering, abusive mother, and how their relationship has fundamentally destroyed her sense of self-worth. Any developments of melodrama…

Review by Ben Empey ★★★★½ 1

Somehow both high melodrama and incredibly subtle and mature. It moves me

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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 (1942)

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75 Years Later, Now, Voyager Remains a Poignant Depiction of Mental Illness

About 23 minutes into Now, Voyager comes one of the most resplendent transformations in all of cinema.

Charlotte Vale (played with trademark intensity and brutal grace by Bette Davis) begins the film as an archetypal spinster figure. Her eyebrows are unruly, clothes dowdy, and a definitive air of anxiety cloaks her. She comes across as an exposed nerve. But at that 23-minute mark, Charlotte is transformed. When the camera tilts upward to her luminescent face, half-shrouded by her hat, she’s glamorous and beautiful in ways she hadn’t been before. The change isn’t just cosmetic. It’s a reflection of an interior transformation that’s still in progress — thanks to an extended stay in a sanitarium — from a mentally strained spinster to a woman charting her own path.

In the years since its release, the film has garnered a reputation as Davis’s best performance and a quintessential example of the women’s picture , a proto-feminist subgenre that took shape in 1930s Hollywood that made the interior lives of complex women its terrain. When I watched the 1942 film — which celebrates its 75th anniversary this year — for the first time as a teenager, it wasn’t the glamour or even the stirring romance that captured my imagination. It was the knotted story about Charlotte’s struggle with mental illness that I was drawn to because it offered something I hadn’t seen before or since in cinematic madwomen: hope.

Today, Now, Voyager remains a timeless portrait of a woman who pulls herself back from the edge of madness to create a life she’s proud to live, with the help of both psychiatry and her own willpower. The film is buttressed by sleek, highly efficient Hollywood production and the moving performances of the cast, notably Davis and Claude Rains as Dr. Jaquith, who helps usher Charlotte into this next phase of her life. Most poignantly, Now, Voyager is a curious outlier in the pantheon of American cinema that concerns itself with women living with mental illness. Few films offer the kind of blistering hope and empathy that has made Now, Voyager endure.

Films featuring mentally ill characters — consider Glenn Close’s maniacal portrayal in Fatal Attraction, Angelina Jolie’s charismatic turn in Girl, Interrupted , and the hothouse women of Tennessee Williams adaptations — often treat these women with emotional distance. Their contorting faces and bodies are a spectacle, while the particulars of their mind remain opaque. It would be difficult to cover all the permutations of madwomen, but they often fall into a few categories: cautionary true-life tales ( Sylvia; The Three Faces of Eve ), deliriously fun vixens who give way to toxicity and violence ( Girl, Interrupted; The Craft; Fatal Attraction ), vehicles for brutalization ( A Streetcar Named Desire ), and women in horror films ( Black Swan being a notable recent addition to the canon). Others slink through noir, like the overheated Technicolor Leave Her to Heaven and sharp The Dark Mirror . This is a pantheon of women whose aches and ailments, desires and downfalls I have been studying for years — partially out of need. Through most of my life grappling with mental illness, I have had no friends or family who, at least openly, dealt with similar issues. So I turned to the screen to find communion. While I personally love many of these films, and the performances that anchor them, I am acutely aware that in almost all of these cases, female madness is a tool, an archetype, a symbol. To be branded mad as a woman can sometimes feel like a black mark you can’t escape from that allows people to disregard your voice and personhood. This is a culture that film often perpetuates through its bloodthirsty femme fatales and treacly biopics offering saccharine endings in which madness is swept away by the love of a good man. Rarely are these women seen as people with interior lives.

Based on the novel by Olive Higgins Prouty, Now, Voyager centers on Charlotte Vale (Davis), a repressed spinster and only daughter of a prominent Boston family, whose life is brutally controlled by her aristocratic mother, Mrs. Windie Vale (Gladys Cooper). Mrs. Vale heaps emotional abuse upon her daughter to such a degree, Charlotte is perpetually on the edge of a nervous breakdown. Her sister-in-law, Lisa (Ilka Chase), intervenes by introducing Charlotte to Dr. Jaquith (Rains), a wryly humorous and caring psychiatrist whose sanitarium becomes a haven for the young woman. The film’s legacy is often tied to its tender romanticism: the moving yet doomed relationship between Charlotte and the married Jeremiah “Jerry” Durrance (Paul Henreid). But what truly makes Now, Voyager memorable is how it centers on Charlotte’s interior life, including her mental illness, above all else, and how Davis capably brings this to life.

Davis’s reputation as an actress is that of unmatched intensity. She consistently played women who make shirking societal rules into an art form — martyrs, bold Southern belles, villainesses, city dwellers fueled by blinding anger. Charlotte Vale proves how deftly subtle and quiet Davis could be, despite her reputation for histrionics. Now, Voyager came relatively early in Davis’s five-decade-long career, but by this point, Davis already had a total of five Academy Award nominations and one win. Now, Voyager would be her sixth. She had also earned a reputation among directors, reportedly including Irving Rapper, who directed Now, Voyager , as being difficult, exerting her own vision to shape the films she worked on. These same traits that directors and studio heads despised in Davis — a dedication to her characters, an auteur-tinged streak, an interest in emotional and physical authenticity when bringing characters to life, no matter how repellent that may be — are the very reasons that her performance as Charlotte Vale remains so potent. What’s extraordinary about watching Davis in this role is her deft communication of Charlotte’s interior life through her physicality — the rigidity of her back as she walks, nervous hand-wringing, her wet saucer eyes darting across the room as if looking for an exit, and the startling grace and directness that comes after her transformation. She begins the film as taut as piano wire, ready to snap; by the end, she’s softened into a languid repose. There are still flashes of that intensity — like in the moving final scene — but now her energy is channeled gracefully and toward better targets. The rich emotional life Davis weaves for Charlotte, bringing nuance to even the smallest moments, is just one reason Now, Voyager is such a powerful narrative about mental illness. Ultimately, the empathy is woven into the story itself.

Now, Voyager was adapted for the screen by Casey Robinson and had a lot of material to work with, thanks to the original novel. Prouty was a pioneer for how she considered psychotherapy in her own work, eschewing the typical imagery of controlling, even malevolent doctors eager to perform lobotomies or circumscribe the lives of the women in their care, a trope that gets particular use in horror. What’s fascinating is how Dr. Jaquith forgoes the usual Freudian touches that defined cinematic representations of such doctors at the time, focusing instead on ideas of self-acceptance .

Prouty’s careful consideration of mental health and psychiatry, and the film’s portrayal of it, would feel stirring even if released today. But in the early 1940s, it was radical. As mental-health activist Darby Penney and psychiatrist Peter Stastny write about one victim of trauma in the 2009 book The Lives They Left Behind , which explores the stories of people institutionalized in the Willard Psychiatric Center during the 20th century: “Throughout history, violence and loss have sometimes driven women mad. Psychiatry has been generally complicit in this process. Today, a woman like Ethel Small who enters the system at least has a chance that she might be asked ‘What happened to you?’ rather than ‘What’s wrong with you?’ In certain places, she might even be referred to a specialist who has experience working with trauma survivors. But in the 1930s, a woman beaten by her husband and mourning her children would not have been considered a trauma survivor.” In real life and its cinematic reflections, women struggling with trauma and mental-health concerns were rarely granted the interiority and care they deserved. Now, Voyager is unique in that it understands the links between Charlotte’s mental duress and her mother’s abuse above all else; furthermore, it shows the possibility of overcoming traumas, not being consumed by them.

Charlotte may have a level of privilege and access that makes getting care for her illness easier. But how she navigates that care is strikingly familiar. In watching the film, I’m reminded of something a psychiatrist told me the second time I was institutionalized at 17: “For you, medication will only do 10 percent. The rest, the hard work, is up to you.” I didn’t truly understand what he meant at the time. But as I grew older and was forced to navigate tragedies without a support system, I came to understand how precarious mental health can be. Now, Voyager forces Charlotte to consistently reconsider how she wants to live, whether she’s navigating her mother’s attempts to manipulate her life or Dr. Jaquith’s tender probing into the sides of herself she keeps hidden. At every point, it’s Charlotte’s understanding of herself that informs its visual landscape, mood, and approach to mental illness. What Now, Voyager ultimately demonstrates is that mental-illness narratives need not be unerringly realistic but resolutely human to work.

Charlotte Vale and I are separated by race and class, culture and access. But in my late teens, shuffling between mental hospitals and new medications, Now, Voyager gave me what I couldn’t find in reality — the reality of chilly mental-hospital halls, the shameful gaze of my mother, the tender embrace of my brother trying to calm me down when I sought new ways to hurt myself: the ability to be seen and even understood.

Mental illness is complex. Hope is often withheld. Empathetic treatment can sometimes feel like a fantasy. For me, Now, Voyager offered a spark of motivation and hope, the ability to imagine a future for myself when I was too poor to get therapy and too depressed to leave my bed. It was a small joy I held on to in dark times, a salve, a form of self-care. This is how a film can save your life.

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'A Journey' (2024) air date, plot, full cast and how to stream Netflix's Filipino drama

Movie:  A Journey aka Podróż

Platform:  Netflix

Date of release:  April 12, 2024 

Country of origin:  Philippines

Genre:  Drama

Runtime:  1 Hour 54 Minutes

Director:  RC Delos Reyes

Full cast list: Paolo Contis, Patrick Garcia, Kaye Abad, Jimmy Santos

Netflix is gearing up for the premiere of 'A Journey' aka 'Podróż', scheduled for Friday, April 12th. The film promises a narrative rich with emotions and drama, tailor-made for viewers seeking a profound, heartfelt experience.

This Filipino film is a must-watch, especially for fans familiar with the previous show that united the starring trio, bringing their unique chemistry within this cinematic journey.

Starring Paolo Contis, Patrick Garcia, and Kaye Abad, in the lead roles, this drama is directed by RC Delos Reyes.

What is the plot of 'A Journey' aka 'Podróż'?

Three lifelong friends embark on an unforgettable journey, discovering harsh truths along the way. Kaye Abad portrays a character who, upon learning her cancer has returned, decides to forego treatment.

She invites her husband and best friend for a road trip across Tasmania, Australia, aiming to fulfill her bucket list wishes.

The official synopsis reads, "Refusing treatment for her cancer, a woman goes on a road trip across Tasmania to check off items on her bucket list with her husband and best friend."

Who stars in 'A Journey' aka 'Podróż'?

Paolo Contis

Paolo Contis, with a blend of Italian and Filipino heritage, stepped into the spotlight as part of 'Star Circle Batch 3' in 1993. Renowned as a child actor in the mid-90s, he was a familiar face on shows like 'Ang TV'.

In 2002, Paolo made a switch to GMA Network, embracing more mature roles as he transitioned from a child actor to a teen idol. At GMA, he showcased his versatility in various shows, frequently appearing in supporting, comedic, and villainous roles.

His acting prowess was recognized in 2008 when he secured the Best Actor award for his role in 'Banal', directed by GMA reporter Cesar Apolinario, who also won Best Director at the Metro Manila Film Festival that year. This accolade marked the start of his popularity surge, fueled by numerous awards.

Patrick Garcia

Patrick Garcia, born Franz Patrick Velasco Garcia on September 14, 1981, is a celebrated Filipino actor. Encouraged by his sister Cheska, a renowned actress, he ventured into acting at 13.

His debut in the 1994 hit movie 'Separada' instantly made him a heartthrob and a favorite among critics in the Philippines.

Following his successful debut, Garcia quickly secured roles in films and soap operas like 'Gimik', 'Araw-araw, gabi-gabi', and 'Asero'.

His outstanding performance as Ryan in 'Madrasta', a film by Olivia M. Lamasan, earned him the Best Child Actor award at the 1996 FAMAS Awards. The next year, his role in 'Batang PX' brought him multiple accolades.

Starting as a part of 'Ang TV', Garcia was later introduced as a member of 'Star Circle Batch 2' by ABS-CBN.

Kaye Abad, born Katherine Grace Cosme Abad-Castillo on May 17, 1982, is a prominent Filipino-American actress. Her journey in the entertainment world began in 1993 with ABS-CBN's Star Magic, and she was officially introduced as part of 'Star Magic Batch 3' in 1996.

Abad's early career was marked by her role in the youth show 'Ang TV.' She gained popularity starring in teen-oriented films and TV series, often alongside John Lloyd Cruz. Their pairing is fondly remembered in the series 'Tabing Ilog,' which aired from 1999 to 2003.

In 2006, Abad took on the role of Cynthia in 'Super Inggo,' a prequel fantasy, and continued with its sequel 'Super Inggo 1.5: Ang Bagong Bangis' in 2007.

Her television comeback in 2009 was through 'Precious Hearts Romances Presents: Bud Brothers Series,' stepping in for Roxanne Guinoo to star opposite Guji Lorenzana.

How to stream 'A Journey' aka 'Podróż'?

'A Journey' aka 'Podróż' is available to stream on Netflix starting from Friday, April 12. Don't have Netflix? 

Access to the film requires a Netflix membership, available starting from $6.99/month for the standard plan with ads.

The standard plan without ads is priced at $15.49/month, while the Premium plan costs $22.99/month.

'A Journey' aka 'Podróż' trailer

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