UnowPriceless hyped garbage

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Casey Duggan It’s sentimental, ridiculously long and only occasionally funny

Dana An old-fashioned movie made with new-fashioned finesse.

ksf-2 Some BIG BIG names in this one. Loretta Young, David Niven, Hugh Herbert. Billie Burke, Sir Aubrey Smith. and of course, my hero, the cynical, sarcastic Eve Arden! and of course Zasu PItts. In the story, Niven is Arturo, see-er of the future, and he is taken with Anita (Young). They travel around the world for Arturo's act, but Anita is getting sick of the road. Then Arturo takes on a dare, which risks his life. and Anita doesn't like it at all. Then he refuses to come off the road, and Anita is off to divorce court. Then they spend the rest of the film running into each other, antagonizing each other, if un-intentionally. The last twenty minutes are a bit annoying... Anita's new husband won't stand up for her, and he also lets his boss run all over him, even when Anita gets ill and wants to leave. A little disappointing.... with that great cast, I was hoping for more. It's all perfectly well done, but they all seem to be fighting for the spotlight. and the story kind of loses its way in the second half. we were supporting Anita when she was in love with, and married to the new husband, but then she doesn't seem to know who she wants, and if SHE doesn't know, why should WE care what happens? I hope it all gets worked out by the end. I can see why its not rated very high, even with all those big names. the ending is a little too abrupt and random. i wonder if the ending was changed along the way to suit audience preferences...

JohnHowardReid Stylishly produced with a great cast, an able director and a fine photographer, but a super-thin story, "Eternally Yours" is a bit of a disappointment. Pitts hasn't much of a role, but Walburn is a delight. Niven, Young (beautifully photographed) and Crawford labor enthusiastically, but the film, despite its lavish dressing, is also a bit disappointing from the director's angle too. Aside from a few optical tricks with imaginative lighting and one or two amusing juxtapositions – Arturo's poster contrasted with Niven searching for his collar button – it lacks Garnett's usual zip, drive and flair. Whilst the direction is efficient, it only occasionally offers that magic ingredient of imaginative fervor – such as the business with the rabbits – that distinguishes Garnett's best films.

Jay Raskin I saw this on an AMC DVD. It was not a very good print. Most scenes looked somewhat muddy. I hope someone releases a better print someday.There is a lot of talent in bit parts here: Billie Burke, Eve Arden, Hugh Herbert, Zasu Pitts, and Broderick Crawford each contribute a few minutes of pleasantness.I wasn't all that impressed with Loretta Young. She was fine, but I didn't see anything special that she brought to her role. On the other hand, David Niven was quite impressive. He brought just the right tone of bravado and cool to his part of a dare devil magician.James Bond writer, Ian Flemming, wanted David Niven to play James Bond. You can see why from this film. He is handsome and suave in the Cary Grant manner, but he's also sly and intense. When he does a handcuffed falling out of a plane stunt, one really feels his fright and nervousness.Niven did end up playing James Bond in the spoof "Casino Royale" (1967), but by that time he was about ten years too old for the part.The movie jumps a bit. It looks like they edited out a number of scenes. Still, it is fast paced, clever and surprising. I recommend it, but I hope they come out with a better print.

Cristi_Ciopron In this crass comedy from his youth, Niven plays an illusionist named Tony or Arturo, the 2nd being, as you have already guessed, his stage name, and this Tony begins taking death defying leaps; his wife is the pretty Anita (--performed by the spicy and cute Loretta Young--). She divorces him once she realizes their views of life don't match very much—she wants to settle, he wants to travel, etc., you know this marriages between a British magician and his assistant coming from an American Episcopalian background. Anita's granddaddy is an American Bishop of the Hollywoodian sort common to most of the righteous movie priests of the Latin rites, either Anglican or Catholic—dignified, wise, calm, unobtrusive and reliable—why, you know those American Bishops. Anita picks a 2nd husband, a youngster fat, ugly and dolt (--and strong as a bull--); she soon realizes that life with this fatty is even worse. She of course refuses to give herself to him; her Tony was slick and a bit funny, her present husband is clumsy, boring and uninspiring. This refused husband is shown, furious, dejected, seeking his pajamas in his voyage bag, a sad scene, fortunately short. Arturo regrets loosing Anita; he wants this babe back.ETERNALLY YOURS is execrably written, and not a very good movie; it wishes to be a comical romance. The characters' deeds say nothing about them, don't express them at all.Loretta Young is 'Anita', Zasu Pitts does a supporting part (--again, strangely appealing--), the very nice Virginia Field plays 'Lola De Vere', Niven's assistant.I guess I never knew anyone who was a Niven fan. His performances are average at best; his mischievous face and nervousness, as of a Rathbone on a severe diet, gave him a distinct profile, usable in comedy format—and not much else. Niven, ironic, dry, witty and essentially melancholy, was a bit of a stock character for British comedies, if you take my meaning. Niven, as you ought to know, was a bi-dimensional actor, very limited, a nice vaudeville type. His characters are cartoons, in a very narrow register; he made his lookalike Guinness seem a regular Welles by comparison. As often with Niven, his character has an essential sadness and gloom; he feigns cheating on his wife, which he doesn't, etc.. Otherwise, the characters are _undelineable. The script is rubbish, there's no story, the lines are dull; so, uninteresting, rudimentary characters in a non—existent script (there are a couple of presumably double _entendres like—'we always did it at the finish of every act …--of every performance', says 'Anita' after she kisses 'Arturo').