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My Reputation (1946)

Approved | | Drama, Romance | 26 January 1946 (USA)
A recent widow meets an army major while skiing and despite pressures from friends and family becomes romantically involved with him.

Director:

Writers:

(screenplay), (novel)
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Cast

Complete credited cast:
...
...
Warner Anderson ...
Lucile Watson ...
Mrs. Mary Kimball
John Ridgely ...
Cary Abbott
...
Ginna Abbott
Jerome Cowan ...
George Van Orman
...
Anna
...
Kim Drummond
Bobby Cooper ...
Keith Drummond
Leona Maricle ...
Riette Van Orman
Mary Servoss ...
Mary
Cecil Cunningham ...
Mrs. Stella Thompson
Janis Wilson ...
Penny Boardman
...
Gretchen Van Orman (as Ann Todd)
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Storyline

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 <dbubbeo@cmp.com>

Plot Summary | Add Synopsis

Taglines:

Of all the dramatic triumphs from Warners this one is the greatest!

Genres:

Drama | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

26 January 1946 (USA)  »

Also Known As:

A Minha Reputação  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

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 »

Goofs

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 »

Quotes

[last lines]
Jessica Drummond: [to Maj. Scott Landis] I'll never be lonely again.
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Soundtracks

The First Noel
(uncredited)
Traditional
Played during Christmas
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User Reviews

Satisfying High-Class Weepie
25 June 2000 | by (Chicago, IL) – See all my reviews



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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