Brightlyme i know i wasted 90 mins of my life.

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Ava-Grace Willis Story: It's very simple but honestly that is fine.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

haniaelrawy What I like most in this movie is the wonderful chemistry between Charles Boyer and Joan Fontaine .Though I didn't like the strange idea of the movie but I enjoyed Boyer's gay spirit in his scenes with Tessa and Paula.He always lit the screen with joy and cheerfulness and I liked his fatherly way of dealing with them.Joan Fontaine was so romantic, innocent, and delicate.Alixis Smith was also impressive in her performance but it was only near the end of the movie.

clanciai There are some major keys to the essence of this tragedy of music and love. One of them is the old composer Albert Sanger, played by Montagu Love, who is the knowledgeable one about music and who clearly sees the foibles of Lewis Dodd (Charles Boyer), the famous wannabe composer, all modernist, but with some hope in him. The old man sees this hope and encourages it, and he dies with something of a testament to Charles Boyer of an idea to "true" music.Another who sees the heart of the matter in music is his daughter Tessa, played by Joan Fontaine, who got an Oscar nomination for her heartrending performance. While she sees through everything she suffers from a sensitive heart and easily gets "palpitations". Her sensitivity is grossly overlooked, underestimated and ignored by her surrounding people, especially by her cousin (Alexis Smith) who marries Charles Boyer who really loves him but never understands him, – even less understanding her "so much younger" cousin, who loves Charles Boyer so much deeper and more understandingly.The tragedy is unsuspected at first, it comes stealing in gradually to in the end affect everyone with overwhelming heartbreakingness, while no one really is guilty. No one could foresee it, not even Alexis Smith, who makes a performance second only to Joan Fontaine.Music and love triumphs in the end but at a terrible cost, while at the same time the truth of love and music stand victorious transcending the pettiness of human relationships, ambitions, careers and all that. Charles Boyer is always perfect in his own way, so natural and dynamic in whatever part he plays, Joan Fontaine and Alexis Smith are both at their best, Charles Coburn reliable as always, and even Peter Lorre has a somewhat pathetically important part in the tragedy, which is of women, love and music. This is an extremely female matter, but Edmund Goulding handles it with great understanding and care, his films are always deeply and thoroughly human, he also made "Dark Victory" with Bette Davis, "The Razor's Edge" and "Nightmare Alley" with Tyrone Power for some examples, and here he reached perhaps his closest touch to the essence of the human heart.

GManfred It was tough in the beginning to accept Joan Fontaine as a teenager. Like everyone else, I had seen her in grown-up roles, and here she was playing a jail-bait 14 year-old. But as the picture wore on she got better and better at it, and by the end of the picture she was excellent - but she was not enough to raise what is essentially a middling woman's picture to greater heights.It was certainly not for lack of trying on the part of the studio. Production values were very good and the cast alone must have cost a bundle, with the likes of Charles Boyer, Peter Lorre, Charles Coburn and Alexis Smith on hand, although several well-known character actors were largely wasted in small roles. I thought this picture might have been Alexis Smith's finest moment. She was both hateful and pathetic as Boyer's jealous wife.I also disagree with some other reviewers regarding the musical score. Eric Wolfgang Korngold wrote the score for many Hollywood classics but here I thought the music rather tuneless and not up to his usual high standard. In sum, I thought "The Constant Nymph" a noble effort but the story was not compelling enough to rate it higher than a six. A good picture but not a great picture.

thegreggor-1 This film is one of the hardest to find great films of its day. Joan Fontaine considers it to be one of her two best performances, the other being her work in Letter From An Unknown Woman. Both films share an abundance of similarities. In each, she devotes her life to her love of a musician. Music is as significant and intrinsic to the films as any major character. In addition, the two films both allow Fontaine the dramatic luxury of playing her characters as children. She pulls this off more successfully than any other actress I have seen. In fact, my favorite parts of both films were the early scenes in which she was playing her characters at their most youthful. The Constant Nymph offers some fascinatingly complex characterizations, including Alexis Smith's Florence, whom we hate and feel sorry for at the same time (for stealing away Charles Boyer from Joan Fontaine). This is a very special film with some truly beautiful music. Catch it if you can!