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Helen Ferguson, pregnant, penniless and dumped by her boyfriend Steve Morley, takes the identity of the pregnant Patrice Harkness, when she and her husband are killed in a train crash. The ... See full summary »
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Alfred E. Green,
Tongues begin to wag when a lonely widow becomes romantically involved with a military man. Problems arise when the gossip is filtered down to her own children. Written by
Daniel Bubbeo <email@example.com>
Originally George Brent was to have appeared with equal billing, but by the time the movie was actually prepared to be released he had switched studios. So the Barbara Stanwyck's name appears alone. See more »
On first visit to the Majors apartment, the door opens on the left hand side, when leaving the apartment the second time the door opens on the right hand side. See more »
An ideal script for Douglas Sirk, charting the emotional liberation of a widow, but filmed without Douglas Sirk. Instead, Curtis Bernhardt commands a lush postwar production: the $5000 limits on set construction were lifted, and it shows. Extras crowd the screen, even in modest scenes, plus James Wong Howe contributes rich low-key lighting, Max Steiner produces an expressive [if undistinctive] score, and Edith Head whips up tasteful costumes. Bernhardt works best in the big scenes, but misjudges some of the lighter moments and cannot light a fire under his leading man, George Brent at his most stolid. Still, there's much to enjoy here: thoughtful dialogue, the stylized upper-crust social milieu, and expert performances, including an unusually sensitive one from Barbara Stanwyck. However, that slight [but crucial] ironic distance of Sirk is sorely missed.
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