Dr. Eli Watt, a widower, comes to a small town, considering himself a failure in his attempt to have a meaningful career in New York. He raises his son Jimmy as well as Letty, a baby whose ... See full summary »
John S. Robertson
Londoners Arnold and Evelyn Boult had high hopes for the life of their son, Edward. His relatively short life ended up being one of privilege but irresponsibility. His life ended at age 23 ... See full summary »
A young woman is on trial for murder. In flashback, we learn of her struggles to overcome poverty as a teenager -- a mistaken arrest and prison term for shoplifting and lack of employment ... 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, Alan." Written by
Dale O'Connor <email@example.com>
Dilly Carson relates to Alan Quinton 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 »
I think very few people are happy. They wait all their lives for something to happen to them - something great and wonderful. They don't know what it is but they wait for it. Sometimes it never happens. What they want is the kind of spirit I found in those letters. A spirit that makes life beautiful. I love that man. I loved him more than my own life. I still love him. So you see, I couldn't have loved Roger Moreland, the man I killed.
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Given the job of writing screenplays from novels, Rand takes Chris Massie's book and thoroughly rewrites it into something more like =Cyrano De Bergerac= with a happy ending! (This is in keeping with Rand's tendency to either write what she thinks someone else should have written, or about what she thinks someone else should do or have done.) And -- it works! Although subject to the same sort of dismissal by establishment critics the rest of Rand's work, this is actually a very, very good film!
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