Legend has it that Helen Hayes was somewhat embarrassed at winning an Oscar for a work as blatantly manipulative and melodramatic as The Sin of Madelon Claudet, but Hayes' performance overcomes the limitations of the material and, more importantly, even manages to elevate that material. Hayes is simply stunning, investing every moment of this sudsy tearjerker with an honesty that makes even its most stilted dialogue come alive. Her naïveté in the early segment of the film is endearing rather than cloying; it feels real rather than manufactured and, therefore, makes all the more powerful her strongly ambivalent feelings at the birth of her son. Hayes handles the transformations into each of the stages of her life with remarkable facility. In each stage she is practically a different character, yet the audience never once questions that they are all the same woman -- nor questions whether one woman could exhibit so many different facets. While it's hard to see past the star performance, it must be noted that she gets some very solid support from the rest of the cast, especially from a wonderful Lewis Stone and an engaging Marie Prevost. The screenplay of Madelon is tripe, but Hayes and her company make the film worth watching.