Soap opera may be a pejorative term, but when it's as well done as Back Street, who cares what it's called? Granted, those who are turned off by "weepies" might as well look elsewhere, for Back Street is pure sudsy melodrama. Also, those who are offended by a double standard by which women are long suffering at the hands of their men should also steer clear, as Margaret Sullavan suffers mightily for the man she loves. But for those who revel in the conventions of the genre, this version of Back Street is a masterpiece, superior to both the 1932 and 1961 versions. And truth to tell, while the film is soap opera deluxe, it also exerts a certain restraint. Director Robert Stevenson certainly deserves a good deal of credit for this, finding a remarkable balance between the extremes of the genre and the demands of good drama. But the real credit for the film's success lies with its tortured leading duo, Sullavan and Charles Boyer. The suave, debonair, slightly dangerous Boyer has such charisma that one almost believes a woman would sacrifice her life for him, based on the briefest of meetings. And Sullavan is a sheer treasure here, tragically noble as required, yet infusing the part with a credibility that is absolutely crucial. The leads give "star" performances of such a high order that it's easy to overlook the exceptionally fine work from Richard Carlson and Frank McHugh. Those ready for a heart-rending romance will find Back Street right up their alley.