In the '30s, musicals glorifying rich people dominated Hollywood; "Stella Dallas" turned that genre on its head. Stella Martin (Barbara Stanwyck) comes from the working class and is as unrefined as can be. She decides to get out of that life by marrying very wealthy Stephen Dallas (John Boles). They have a daughter, Laurel (Anne Shirley),but then Stella and Stephen begin to drift apart from each other. As Stella refuses to adapt to the rich lifestyle, she decides to sacrifice everything so that Laurel may live a better life.

Watching the movie, I can see why producer Samuel Goldwyn cried when he saw it. The top-notch acting from all the cast members, and the excellent use of cinematography, make this a movie meriting all forms of accolades. It is a perfect movie in every way, shape and form. Above all, it shows what a great actress Barbara Stanwyck was. Few movies have ever been as great as "Stella Dallas".

This isn't a bad movie, as Barbara Stanwyck did a good job with the material she was given AND this film was exactly the type of film they loved back in 1937. The problem, though, is today the film seems pretty dated and soap opera-like and some might be so turned off by this that they won't give the film a fair chance. And for me, a great fan of classic Hollywood films, I could enjoy the movie despite this occasionally over-the-top style. But, for teens and a more contemporary audience, I think this film MIGHT be very slow and perhaps silly in spots. I recently saw it with my 12 year-old and she actually enjoyed it quite a bit, so the film can be enjoyed by a preteen or teen if they are willing to give it a chance.

Stella is a well-meaning mother with little class but a decent amount of money. As far a being a wife goes, however, she is horrid--and has as much regard for her poor estranged husband as the average person might have for a used piece of gum!! Early on in their rocky marriage, his job transfers him to New York, but she refuses to come along. All she cares about is raising her daughter and making sure the hubby's checks clear. The only other problem (other than her crappy marriage) is that Stella has little, if any, class and prefers to hang out with her drunk friend (Mr. Munn) instead of a decent man. As the movie progresses, she begins to spend less and less time with Munn due to his advancing alcoholism BUT she also begins to wear clothes that might make a scarecrow embarrassed. While she doesn't drink, she dresses like a drunk floozy and becomes a source of embarrassment for her daughter. Now the daughter IS a very good and decent girl, so she chooses to remain loyal and loving towards Stella. Eventually, though, Stella learns she is holding her daughter back and makes the supreme sacrifice--sending the daughter to live with her father and brand-new wife.

The film has excellent acting and towards the weepy conclusion, I found myself on the verge of tears. While the film at times makes little sense (why did she treat her husband so badly AND why could everyone see that she dressed horridly but her?),the overall effect is very satisfying providing you can forgive a few minor melodramatic excesses.

Had heard nothing but good things about 'Stella Dallas' and being someone who loves Barbara Stanwyck hearing of the universal acclaim for her performance here further interested me. King Vidor directed his fair share of great films, 'The Big Parade' and 'The Crowd' to name a few, and when melodrama is done right (it's been variable on film) it is both riveting and very emotional when not silly and over-heated. So expectations were high.

Those high expectations were very much met. 'Stella Dallas' turned out to be one of the best and most powerful melodramas and overall films seen recently. It is one of those positively reviewed films seen recently personally where the appeal can be completely understood and not doubted in any way. Stanwyck deserved and still does deserve every ounce of acclaim she got/has gotten and there is a reason as to why the ending is as famous as it is. It is one of Vidor's better films too, if not quite one of his very best.

John Boles is sometimes a little dull as a character that is not particularly meaty (at other points though his gentle approach to the character does appeal).

Stella's obliviousness to how her family feels about her is not always easy to swallow either.

On the other hand, 'Stella Dallas' is a beautifully made film, even if Stella's clothes are purposefully less appealing. Especially the photography. Have always loved Alfred Newman's scores and consider one of the best and most consistent film composers at the time, and his score for 'Stella Dallas' is no different. Luscious, great use of strings, with emotional impact without being intrusive. Vidor directs sympathetically but with edge and bounce to avoid over-saccharine-ness and dullness. The script is intelligent and not rambling and the story doesn't get over-heated or draggy. Actually found it very absorbing and poignant, the ending is justifiably lauded and unforgettable in its emotional impact. Have no shame in admitting to crying buckets at the end.

Rest of the performances are very good and more consistent, and in one case running-out-of-positive superlatives-worthy. Anne Shirley is sincere and never clinical or melodramatic. Likewise with Barbara O'Neill and Alan Hale amuses. Stanwyck is the main reason to see 'Stella Dallas' though, she is never anything short of simply magnificent. Playing her role with her typical intense forcefulness but also tender humanity that helps avoid Stella from being a caricature and from being completely unlikeable.

All in all, truly great and a must. 9/10