This movie is not your standard run of the mill drama. For its time, it's played very naturalistically. Both Milland and Fontaine give solid performances that are restrained and grounded in reality. Unfortunately, Teresa Wright (one of my favorites from the 40s) doesn't get much screen time and when she does it always involves rather stilted conversations with husband Milland.
The movie is an odd conversation piece because there are in fact a lot of real life endings going on.
Take Fontaine for instance, this movie is, arguably her last major leading lady role. Sure her next picture after this was IVANHOE (a big money maker in color) but I'd hardly call that movie a vehicle for Fontaine. For better or worse, this really is her swan song as a leading lady when she was still a major star that audiences were interested in seeing. Sure she had some other leading roles (not many though), THE WITCHES from 1966 though a leading role could hardly be compared to a major studio production with a leading director of Stevens' caliber co-starring a major motion picture star like Milland. She was 35 in this movie.
Milland's career too as a leading man was about to close. After this movie he basically had one BIG picture as a lead in a major motion picture and that would be Alfred Hitchcock's DIAL M FOR MURDER. He was 45 in this movie.
Wright's career never did gel completely and consequently it's a rare movie that featured her as the lead...especially with her role being the driving force. But in a handful of movies in the 1940s she made her mark that remains to this day. If nothing else, she was Marlon Brando's co-star in his first movie THE MEN. Hard to believe but she was only 34 in this movie.
One thing I'm surprised no one has commented on is the cinematography. From the very beginning I noticed special attention was being paid to the filming of this movie and there are quite a few dissolve shots where you see two images laid over each other as the scene shifts from one scene to the next. I looked the cinematographer up and discovered it was the legendary GEORGE BARNES. Not too remembered now but in his day one of the best..and one of the earliest. He was nominated five times for an Oscar, winning for 1940s Alfred Hitchcock production of REBECCA. He only made a couple of movies after this then passed away.
Director GEORGE STEVENS was near the end of his career as a director as well, though he still had five films left in him, almost all hits, especially SHANE and GIANT.
I liked the the tone and subject matter of the movie and the manner in which it was handled. Unfortunately, the biggest liability is the writing. There just wasn't enough development to the story. As one other reviewer here suggested, it might have been salvaged if they shortened it and presented it as one of the live dramatic pieces on TV. Or, and I would have gone with this option, and had a script doctor brought in who could have added a bit more conflict. Certainly the interplay between husband Milland and wife Wright should have been beefed up. If nothing else, Wright should have been given at least one scene that she could've sunk her teeth into. And Fontaine too was robbed of a meatier role.
Milland gets the most screen time and thankfully he played it well.
Buy the movie lacked a central theme of URGENCY.
So it plays, perhaps, almost TOO realistically without the needed and wanted dramatic punch.
Still, it was great to see Fontaine not all lacquered up for a change and playing a real woman. And she still looked great.
I'd give the movie a chance. Especially on a winter rainy afternoon.
The movie is an odd conversation piece because there are in fact a lot of real life endings going on.
Take Fontaine for instance, this movie is, arguably her last major leading lady role. Sure her next picture after this was IVANHOE (a big money maker in color) but I'd hardly call that movie a vehicle for Fontaine. For better or worse, this really is her swan song as a leading lady when she was still a major star that audiences were interested in seeing. Sure she had some other leading roles (not many though), THE WITCHES from 1966 though a leading role could hardly be compared to a major studio production with a leading director of Stevens' caliber co-starring a major motion picture star like Milland. She was 35 in this movie.
Milland's career too as a leading man was about to close. After this movie he basically had one BIG picture as a lead in a major motion picture and that would be Alfred Hitchcock's DIAL M FOR MURDER. He was 45 in this movie.
Wright's career never did gel completely and consequently it's a rare movie that featured her as the lead...especially with her role being the driving force. But in a handful of movies in the 1940s she made her mark that remains to this day. If nothing else, she was Marlon Brando's co-star in his first movie THE MEN. Hard to believe but she was only 34 in this movie.
One thing I'm surprised no one has commented on is the cinematography. From the very beginning I noticed special attention was being paid to the filming of this movie and there are quite a few dissolve shots where you see two images laid over each other as the scene shifts from one scene to the next. I looked the cinematographer up and discovered it was the legendary GEORGE BARNES. Not too remembered now but in his day one of the best..and one of the earliest. He was nominated five times for an Oscar, winning for 1940s Alfred Hitchcock production of REBECCA. He only made a couple of movies after this then passed away.
Director GEORGE STEVENS was near the end of his career as a director as well, though he still had five films left in him, almost all hits, especially SHANE and GIANT.
I liked the the tone and subject matter of the movie and the manner in which it was handled. Unfortunately, the biggest liability is the writing. There just wasn't enough development to the story. As one other reviewer here suggested, it might have been salvaged if they shortened it and presented it as one of the live dramatic pieces on TV. Or, and I would have gone with this option, and had a script doctor brought in who could have added a bit more conflict. Certainly the interplay between husband Milland and wife Wright should have been beefed up. If nothing else, Wright should have been given at least one scene that she could've sunk her teeth into. And Fontaine too was robbed of a meatier role.
Milland gets the most screen time and thankfully he played it well.
Buy the movie lacked a central theme of URGENCY.
So it plays, perhaps, almost TOO realistically without the needed and wanted dramatic punch.
Still, it was great to see Fontaine not all lacquered up for a change and playing a real woman. And she still looked great.
I'd give the movie a chance. Especially on a winter rainy afternoon.