Two years before Bette Davis refused to ask for the moon since she already had the stars, she thanked heaven for saving her from scandal's wrath in this riveting tear-jerker based upon a Rachel Crothers story of a wronged nanny and teacher who must defend herself from an unjustly notorious past from the giggling school girls who haven't a foggiest notion of the truth. Ms. Davis played many heroines in her day in addition to the scheming bitches, and padded her film work in 1940 with this classic as well as "The Letter" where she played an amoral murderess.In this film, her scandal involves supposed murder, and she is wrongly suspected of not only being an accomplice but the accused man's lover as well. She is working as nanny and teacher to the children of the unhappily married Charles Boyer and Barbara O'Neill, extremely wealthy European aristocrats whose marriage has turned into bitterness because of her jealous suspicions and obvious insanity. Rude instantly to Davis, she becomes more tyrannical as she realizes that her children have come to love Davis more than her and that Boyer has made her a confidante. In one horrific scene, O'Neill takes her ailing son out on a carriage ride to try and establish her authority which further threatens the boy's health. Young Richard Nichols is sweet in the part, ironic considering that the same year, he would play Hoan Crawford's ward in "A Woman's Face".Davis is at her most noble here, suffering gallantly in period costumes and deserving a four handkerchief salute for her sincere performance. Boyer is a combination of imperiousness and compassion, turning in a most praise-worthy performance. A year after playing Scarlett O'Hara's mother in "Gone With the Wind", Ms. O'Neill took motherhood to a whole different dimension, reminding us that she had also played the gracious society matron who agreed to take in Anne Shirley in "Stella Dallas". But there's not a one dimensionalism in her character. In spite of her dislikability, you really understand why she is the way she is.Outstanding production design and great character performances also highlight this "Triple A" Warner Brothers production which was beautifully directed by Anatole Litvak and features a magnificent musical score by Max Steiner and beautiful photography by Ernest Haller. For some reason, this Best Picture nominee isn't as well known as many of Davis's classics from this era, and deserves to move up in status to being one of the all-time greats.

When students at a 19th century "School for Young Ladies" begin gossiping about the scandalous past of new French teacher Bette Davis (as as Henriette Deluzy-Desportes), she decides to tell them the whole "true story" about what really happened… In flashback, lonely Mademoiselle Davis sails from England to France, where she will apply, and be accepted, as governess to the four children of Charles Boyer and Barbara O'Neil (as the Duc and Duchesse de Praslin) - tearful June Lockhart (as Isabelle), precocious Virginia Weidler (as Louise), cute Ann Todd (as Berthe), and sickly Richard Nichols (as Reynald).Davis immediately connects with the beautiful, love-starved children, who are suffering under the apparent dissolution of their parents' marriage. Monsieur Boyer has fallen quite obviously out of love with Madame O'Neil, which has made his wife unstable. Alternately arguing and sobbing, O'Neil loves Boyer blindly, and sees Davis as a threat. As you might imagine, she is correct… Watching the restrained relationship develop between Davis and Boyer, while O'Neil becomes more and more miserable, is great fun. The story, based on Rachel Field's hit novel, succeeds in keeping the passion subdued.Magnificently mounted by the Warner Bros. studio, "All This, and Heaven Too" made the "Academy Awards" top ten, and scored additional nominations for Ernest Haller's cinematography and "Supporting Actress" (O'Neil). Davis was nominated for "Best Actress" in the more recently released "The Letter" (1940), or she would have been nominated for this performance. She was obviously on a roll, and capable of creating incredibly distinct characters. Boyer is at his best. Mr. Litvak's direction of actors and sets is smooth, staid and stately, with the "separation of bedrooms" sequence beautifully realized.********* All This, and Heaven Too (7/4/40) Anatole Litvak ~ Bette Davis, Charles Boyer, Barbara O'Neil, June Lockhart

I am having a hard time finding the words to explain just how much I detested this movie. The historical trial of Henriette Deluzy-Desportes and the Duc de Praslin is a tragic and compelling story that, I feel, had the potential to be a fantastic film, but failed. Although the cinematography certainly had something to say for itself, it in no way could make up for the terrible structure of the film, the badly written script and most of all the horrendously overacted characters. The worst of them were the Duc's children who were so over-the-top-corny and sickeningly fake that it was almost painful to watch.In conclusion, this film left me feeling nothing more than irritated and profoundly disappointed.

This was a long one, but it wasn't all for nothing. I thought that the acting was spot on, except for the children. Their acting sort of made it seem like a musical. The interactions between Betty and the children were definitely dramatized but it was to emphasize the fact that they came from a broken home and she would do anything for them. The antagonist was the wife and what an antagonist she was. I absolutely hated her by the end of the film and I wasn't the least bit sad when she died. The protagonist was Betty and she did a great job playing a tame, respectful, and well-mannered governess. The design of the movie contributed significantly to the verisimilitude along with the acting. The house and the dress was magnificent. I don't think that the camera-work was anything spectacular, and I feel the same way about the lighting. However, there is one scene that stands out and that is right before the husband kills the wife and you see him from her point of view. He looks absolutely mad and he is coming right at the camera. That was pretty cool. Other than that, the film was meant to seem ordinary in order to seem believable. All in all, it was a wonderful story and definitely called for tears.