All This, and Heaven Too 1940

Mademoiselle Henriette Deluzy-Desportes, a French woman, arrives in a new world of teaching and reputation when she begins her work at an American girls’ school.Faced with the gossip and rumors that flutter around her life, she chooses to turn the lens inward and tell the story of her own past. This decision marks the frame of a coming‑of‑age tale wrapped in social stakes, where personal dignity collides with public scandal. The film follows her as she revisits memories that shaped a courtroom and a heart, all while the present moment in the classroom keeps turning the pages of her lecture into a genuine confession.

She becomes the governess to the four children of the Duc de Praslin and Duchesse de Praslin in Paris, during the closing years of the Orleans monarchy. The household is a study in contrasts: a privileged life shadowed by a volatile marriage. The Duchess’s erratic moods create a climate of unease, and though the Duc remains at her side out of duty to their children, the atmosphere is a fragile compromise rather than a true partnership. In this delicate balancing act, the governess’s warmth and steadiness begin to weave a quiet bond with the children and, unexpectedly, with the husband who protects them from the storm around him.

As [Henriette Deluzy-Desportes] settles into her role, she quietly earns the affection of the children and the father with her genuine kindness and a soft strength that lights up the rooms of the Praslin home. Yet her presence also stirs a dangerous mix of jealousy and insecurity in the Duchess, whose resentment translates into mob‑like whispers that seem to follow Henriette wherever she goes. The Duchess refuses to provide a letter of recommendation when Henriette must leave, and the marriage frays even more. The mother’s spite escalates into a manipulation of perceptions—she fabricates letters that misrepresent intentions and loyalties—effectively turning a personal quarrel into a public indictment. The tension crescendos as the Duc confronts the crisis, and in a bitter moment born of fear, he kills his wife.

The situation is complicated by the politics of a noble court. As a peer, the Duc’s fate would be decided by a narrow circle of nobles, where confession could be used to pin blame not on himself alone but on the woman who supposedly urged him toward it. He refuses to confess or openly proclaim any passionate motive that might salvage or condemn him, understanding that an admission of love for his employee could be the very thing that ruins Henriette’s life. In a final, desperate act to avoid public judgment and to protect the woman he once sheltered, he chooses poison over a public confrontation. Even as he sinks, he reveals a truth to a loyal servant, Pierre, who had warned Henriette to leave the household: the man’s love for Henriette was real, even if it could not be spoken aloud.

With the Duc’s death, the authorities find themselves at a dead end—there is no solid evidence that Henriette solicited the murder, and she is released from the Conciergerie. The social machinery that once turned on her now gives way to a fragile vindication, shaped as much by circumstance as by the weight of truth. Henriette had been recommended for a teaching position “in the land of the free” by an American minister, Rev. Henry Field, who has seen the resilience behind her story. The possibility of a new life lies ahead as Field proposes marriage, signaling a hopeful turn toward a future where past judgments might finally loosen their grip.

The narrative unfolds as a meditation on reputation, power, and the courage to tell one’s own story. In the classroom, Henriette finds a space to reclaim agency, while the memory of Paris’s gilded salons lingers as a reminder of how easily a life can be reconstructed—or shattered—by the gossip of others. The film invites us to witness not only a dramatic arc of love and loss but also a more intimate reckoning: a woman who seeks mercy and a future, and a man who chooses truth over peril, all set against a backdrop where social codes and personal loyalties collide with devastating consequence. The final suggestion is not merely a verdict on a murder, but a quiet, hopeful note that a life can still move forward, even after the most public of judgments.

Note: The names of the principal players appear in the narrative with links to their pages on the site:

• Henriette Deluzy-Desportes

• Duc de Praslin

• Duchesse de Praslin

• Pierre

• Henry Field