Now, Voyager is a 1942 American drama film starring Bette Davis, Paul Henreid, and Claude Rains, and directed by Irving Rapper.

[4] Prouty borrowed her title from the Walt Whitman poem "The Untold Want," which reads in its entirety, The untold want by life and land ne'er granted, Now, voyager, sail thou forth, to seek and find.In 2007, Now, Voyager was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant.

Away from her mother's control, Charlotte blossoms, and at Lisa's urging, the slim, transformed woman — with a chic borrowed wardrobe — opts to take a lengthy cruise instead of going home immediately.

The memory of Jerry's love and devotion — as evidenced in the timely arrival of a corsage of Camellias — helps give her the strength she needs to remain resolute.

Filming ran from April 7 to June 23 of 1942 as producer Hal B. Wallis made Now, Voyager his first independent production at Warner Bros. under a new arrangement with the studio.

Consulting with designer Orry-Kelly, she suggested a drab outfit, including an ugly foulard dress for Charlotte initially, to contrast with the stylish, "timeless" creations that mark her later appearance on the cruise ship.

Davis was aghast at the initial costume and makeup tests of Austrian actor Paul Henreid; she thought the "slicked back" gigolo-like appearance [9] made him look "just like Valentino."

Initial production of the Prouty novel had to take into account that European locales would not be possible in the midst of World War II, despite the novelist's insistence on using Italy as the main setting.

[8] Principal photography was shifted to Warner's sound stage 18 and various locations around California, including the San Bernardino National Forest, while European scenes were replaced by stock footage of Brazil.

[8] Other locations of filming include Harvard Medical School in Roxbury, Massachusetts, Laguna Beach, Whitley Avenue, and other streets around Boston.

[8] The film highlighted Davis's ability to shape her future artistic ventures, as not only did she have a significant role in influencing the decisions over her co-stars, but also the choice of director was predicated on a need to have a compliant individual at the helm.

[8] For years, Davis and co-star Paul Henreid claimed the moment in which Jerry puts two cigarettes in his mouth, lights both, then passes one to Charlotte, was developed by them during rehearsals, inspired by a habit Henreid shared with his wife, but drafts of Casey Robinson's script on file at the University of Southern California indicate it was included by the screenwriter in his original script.

[2] Theodore Strauss, a critic for The New York Times, observed: Casey Robinson has created a deliberate and workmanlike script, which more than once reaches into troubled emotions.

[14] David Lardner of The New Yorker offered a similar opinion, writing that for most of the film, Davis "just plods along with the plot, which is longish and a little out of proportion to its intellectual content.

"[15] Variety, however, wrote a more positive review, calling it the kind of drama that maintains Warner's pattern for box-office success ... Hal Wallis hasn't spared the purse-strings on this production.

This was caused by the death of one of her daughters and proved to be a defining period in her professional life as a writer, as the experience she gained from this episode helped her write not only Now, Voyager, but also her 1927 novel Conflict, both of which have similar themes of recovery following a breakdown.