Lyrical, leisurely paced drama enacted by giants of the acting world. For those who have no patience for a story that plays out in measured parts this film is not for you, but if you are willing to allow a film to reveal itself slowly you'll be richly rewarded. All four leads are award worthy although all went unacknowledged in that year's honors.
Alan Bates offers up a beautifully controlled performance as Chris Baldry a man who has lost his identity in the war. Working in a childish almost trance like state to reconnect with the part of his life that to him is immediate but is actually long in the past his vulnerable yearning is deeply touching. He is simply great.
Equally magnificent are his three leading ladies, all the more so for them since all three are cast against their established images.
Ann-Margret is close to unrecognizable as Bates cousin the sedate, caring Jenny. Hers is the smallest of the three woman's roles but buried under a dark wig with no makeup she still manages to make an impact and hold her own against the powerhouse trio who drive the film.
Glenda Jackson subsumes her normal tough often strident personality into the quiet, gentle lower class Margaret Grey who the searching Chris' remembers as his great love. Forsaking the grand gestures that often mark her work as queens and countesses she is entirely convincing as the working class housewife transformed back to a sort of beauty by the remembrance of a long ago love.
Julie Christie is perhaps most impressive as the haughty, closed in Kitty, the amnesiac Chris' forgotten wife. Always secure in her position and place in the world up until the moment of Chris' return she conveys Kitty's newfound uncertainty in small darted glances and the brittle armor her upbringing has provided to protect her from the vagaries of a world from which she has always been removed. There is a scene played mostly in profile at a window and with minimal dialog in which she imparts so many emotions in a short period of time it's takes the breath away. Not just some of the best acting she's ever done but some of the best ever put on screen.
Aside from the main quartet the only role of any substance is essayed by Ian Holm as the therapist trying to lead Chris back through the mists of his puzzlement. He is fine as usual but he is rather sidelined by the acting fireworks of the main four.
Richly appointed and lovingly shot this is for fans of great acting and adult storytelling.
Alan Bates offers up a beautifully controlled performance as Chris Baldry a man who has lost his identity in the war. Working in a childish almost trance like state to reconnect with the part of his life that to him is immediate but is actually long in the past his vulnerable yearning is deeply touching. He is simply great.
Equally magnificent are his three leading ladies, all the more so for them since all three are cast against their established images.
Ann-Margret is close to unrecognizable as Bates cousin the sedate, caring Jenny. Hers is the smallest of the three woman's roles but buried under a dark wig with no makeup she still manages to make an impact and hold her own against the powerhouse trio who drive the film.
Glenda Jackson subsumes her normal tough often strident personality into the quiet, gentle lower class Margaret Grey who the searching Chris' remembers as his great love. Forsaking the grand gestures that often mark her work as queens and countesses she is entirely convincing as the working class housewife transformed back to a sort of beauty by the remembrance of a long ago love.
Julie Christie is perhaps most impressive as the haughty, closed in Kitty, the amnesiac Chris' forgotten wife. Always secure in her position and place in the world up until the moment of Chris' return she conveys Kitty's newfound uncertainty in small darted glances and the brittle armor her upbringing has provided to protect her from the vagaries of a world from which she has always been removed. There is a scene played mostly in profile at a window and with minimal dialog in which she imparts so many emotions in a short period of time it's takes the breath away. Not just some of the best acting she's ever done but some of the best ever put on screen.
Aside from the main quartet the only role of any substance is essayed by Ian Holm as the therapist trying to lead Chris back through the mists of his puzzlement. He is fine as usual but he is rather sidelined by the acting fireworks of the main four.
Richly appointed and lovingly shot this is for fans of great acting and adult storytelling.