Struggling artist Geoffrey Carroll meets Sally whilst on holiday in the country. A romance develops but he doesn't tell her he's already married. Suffering from mental illness, Geoffrey ... See full summary »
Fiona, Evelyn and Susanna are sisters. Their mother dies on the Lusitania, their father is killed in France, they must manage their Fifth Avenue mansion by themselves. Fiona marries Charles... See full summary »
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 <firstname.lastname@example.org>
One of Barbara Stanwyck's sons asks her what team Joe DiMaggio used to play for. Although DiMaggio had rejoined the Yankees in 1946, when this film was released, he was in military service during 1943, when the film was actually filmed. 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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