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Amy Holden Jones
Jamie Lee Curtis,
Marco, a young, arrogant art student, is friendly with Timothy, a medical student, and Sarah, his girl friend. Timothy is dominated by his beautiful mother, Carol, who is divorcing her ... See full summary »
Doomed love within a corrupt political world. At 18, the beautiful and smart Kira comes to Petersburg as the Communists consolidate power. She rebuffs a cousin who rises in the Party and ... See full summary »
When a man asks another man more facile with words to do his wooing for him, there are always complications. The man with no talent for writing marries the girl, confesses one night he didn't write the letters and ends up with a knife in his back. The writer of the letters fell in love with the woman he wrote to and wants to become her second husband even if she did murder husband number one. Singleton doesn't remember the murder or anything about the first 22 years of her life as Victoria Remington. Then at her second wedding she wonders why she said "I take you, Roger," instead of "I take you, Allen." Written by
Dale O'Connor <email@example.com>
"Screen Director's Playhouse" broadcast a 30 minute radio adaptation of the movie on October 24, 1949 with Joseph Cotten reprising his film role. See more »
Dilly Carson relates to Allan Quinnton that she found Singleton sitting by the fireplace with a bloody knife and a letter from which Dilly quotes the signature line, "I think of you my dearest as the distance promise of beauty". But during the climactic flashback, we see the letter with that very line burning in the fireplace. See more »
This film is more than just the best of the "other fellow writes love notes" genre. The Ayn Rand screenplay, though a potboiler, conveys the absolutist nature of true romantic love, which certainly dovetailed nicely with her objectivist philosophy. Jennifer Jones is lovely as ever, and extremely convincing in her amnesiac role. A fine film.
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