Back Street (1932)

In director John Stahl's sentimental and romantic, pre-Code 'weepie' melodrama of an ill-fated romance involving extra-marital and sacrificial love, based upon Fannie Hurst's best-selling (and scandalous) 1931 novel (and remade in 1941 with Charles Boyer and Margaret Sullavan, and in 1961 with Susan Hayward and John Gavin):

• the film highlighted the long-lasting relationship and steadfast love and devotion between 'mistress' Ray Schmidt (Irene Dunne) and her 'taken' man Walter D. Saxel (John Boles), ultimately a successful financier-banker, that lasted for their entire lifetimes
• the early scenes, set in turn-of-the-century Cincinnati, depicted Ray's character as wild, flirtatious, free, independent and carefree (a fun-loving "good-time girl" with multiple suitors)
• but after her initial romantic hook-up with Walter (including an important, but missed chance to meet his mother (Maude Turner Gordon)), they subsequently separated, and then accidentally remet again five years later in New York; she decided to surrender to love, gave up her career and financial independence, and became the married man's permanent 'back street mistress' or make-believe wife in the shadows of Walter's married life
• the alienated heroine outcast was kept tucked away joylessly in a cheap and tiny apartment while he was married to wife Corinne Saxel (Doris Lloyd) with two children
• during some pleasant, secret visits with her in her apartment, Walter enjoyed chocolate and gingerbread, although she mostly experienced shame, loneliness, anguish and the negation of her potential motherhood
• in a dramatic, closing death sequence in Paris after Walter had suffered a massive stroke and heart attack, his last thoughts turned to Ray - he could only say her name during his requested final phone call with her before he died; she replied to him: "Walter... yes, I'm here! I'm listening...I can't hear you, dear. What are you trying to say to me?"; she intently listened (the phone receiver was set down) as Walter's son Richard "Dick (William Bakewell), who had been holding the phone, reacted to the death: ("Dad, Dad! Nurse! Doctor!") and she heard the doctor's somber pronouncement: ("He's passed on"); Ray screamed out Walter's name in shock and begged: "Don't leave me!" and then collapsed to the floor

Ray's Phone Conversation with Walter as He Died of a Stroke

• following Walter's death, the tearful Ray sat in mourning in her shabby Parisian apartment, next to Walter's portrait; Walter's repentant son Richard visited Ray, and was now very sympathetic to Ray's feelings of true love and her dire plight; he explained: "His last thoughts were of you, Mrs. Schmidt"; he was astonished to learn that she had been sustained or provided for by only $200/month ("You mean everything? Good heavens!"); because she was not in Walter's will, he promised to continue to provide for her well-being
• the film's powerful ending visualized a direct but dreamy connection between Walter (represented by a head-shot of his portrait next to her) and Ray when she spoke to him about how nice Richard had been to her, and their missed opportunities together: "Your son is going to take care of me. He was so nice. He might have been my son, our son. I wonder, Walter, what would have happened if I'd met your mother that day in the park"; desperate to be with Walter, she retreated into fantasy and replayed in her mind that she had actually met his mother (Maude Turner Gordon) at a local band concert in the park, who greeted her warmly: "So you are Ray Schmidt. You are nice. My dear, you are all he said you were. And I hope you both will be very happy"
• in the film's final moments, Ray was able to transcend time and any other barriers (social and physical) that stood between them -- she murmured: "I'm coming, Walter, I'm coming" and succumbed (by slowly bowing her head onto the table holding Walter's portrait)