I wonder if Ray Milland was roped into Something to Live For due to a contractual obligation, but I don't have to wonder if he was insulted - of course he was! Did Hollywood see him as anything other than a chronic alcoholic? His role in this "romance" is practically a sequel to The Lost Weekend, but somehow his character manages to be even more unlikable. There are some movies you can watch him in that show him as a great actor; in this one, he's just Ray Mi-bland.
Joan Fontaine is also just Joan Fontaine. Her hunched posture, inability to voice the ends of her sentences, and her ill-fitting smile are all present in this role, not distinguishing it from countless others she played. She's meek and mousey, going on a bender every time she has to perform onstage. If she feels that way about an audition, reading, or opening night, she has no business seeking a career in the theater. Instead of calling AA whenever she collapses, the well-intentioned bellhop Harry Bellaver should have called an employment agency. Joan is a joke.
At the start of the movie, Harry calls Ray to come over for an emergency drunk resuscitation. Ray is unnerved because AA segregates them by gender, and Joan should have had a woman come. Nevertheless, he spends the evening with her and helps her back on her feet. When he returns to his own home, his wife Teresa Wright isn't happy that he's still involved with alcoholism even though he's kicked the habit himself. There are so many flaws with this plot, it's not even a pleasure to watch and criticize it. Ray would never have been allowed to be a sponsor if he was only one year sober and still holding on by a thread. He would have had his own sponsor, to whom he would have told he's mentoring a single (supposedly attractive) woman; and his sponsor would have put a stop to the dangerous behavior immediately.
The "romance" of the story is also a problem. It's extremely obvious that Ray is only attracted to Joan's weakness. She makes him feel strong by comparison, and his wife reminds him of his past mistakes (through his own conscience; she never actually does this). Is the audience supposed to think theirs is actually a deep love? Joan is unhinged and would cling to anyone. Through their clandestine relationship, doesn't the audience recognize the signs of addiction? Ray starts lying again, he experiences highs and lows, he makes excuses to see Joan when he knows it's unhealthy, and he enjoys his alternative persona during his secret life. How are we supposed to root for these people? How can we think their affair gives them "something to live for"? I was very mad at Harry's character, encouraging an adulterous relationship when he had no stake in Joan's future. If he was Joan's brother and truly believed Ray was the only man who could help her live another day, he might rationalize his aiding and abetting. He holds no investment and should therefore stay out of their lives.
Joan Fontaine is also just Joan Fontaine. Her hunched posture, inability to voice the ends of her sentences, and her ill-fitting smile are all present in this role, not distinguishing it from countless others she played. She's meek and mousey, going on a bender every time she has to perform onstage. If she feels that way about an audition, reading, or opening night, she has no business seeking a career in the theater. Instead of calling AA whenever she collapses, the well-intentioned bellhop Harry Bellaver should have called an employment agency. Joan is a joke.
At the start of the movie, Harry calls Ray to come over for an emergency drunk resuscitation. Ray is unnerved because AA segregates them by gender, and Joan should have had a woman come. Nevertheless, he spends the evening with her and helps her back on her feet. When he returns to his own home, his wife Teresa Wright isn't happy that he's still involved with alcoholism even though he's kicked the habit himself. There are so many flaws with this plot, it's not even a pleasure to watch and criticize it. Ray would never have been allowed to be a sponsor if he was only one year sober and still holding on by a thread. He would have had his own sponsor, to whom he would have told he's mentoring a single (supposedly attractive) woman; and his sponsor would have put a stop to the dangerous behavior immediately.
The "romance" of the story is also a problem. It's extremely obvious that Ray is only attracted to Joan's weakness. She makes him feel strong by comparison, and his wife reminds him of his past mistakes (through his own conscience; she never actually does this). Is the audience supposed to think theirs is actually a deep love? Joan is unhinged and would cling to anyone. Through their clandestine relationship, doesn't the audience recognize the signs of addiction? Ray starts lying again, he experiences highs and lows, he makes excuses to see Joan when he knows it's unhealthy, and he enjoys his alternative persona during his secret life. How are we supposed to root for these people? How can we think their affair gives them "something to live for"? I was very mad at Harry's character, encouraging an adulterous relationship when he had no stake in Joan's future. If he was Joan's brother and truly believed Ray was the only man who could help her live another day, he might rationalize his aiding and abetting. He holds no investment and should therefore stay out of their lives.