An American World War I soldier, whose disfigured face is reconstructed by Austrian plastic surgeons, returns home after twenty years, but no one recognizes him, his widow is married to another man, and his son is a grown young man.
The true story of Agnes Newton Keith's imprisonment in several Japanese prisoner-of-war camps from 1941 to the end of WWII. Separated from her husband and with a young son to care for she ... See full summary »
When a wealthy business man is found dead reporter Philip Trent is sent to investigate. Against the police conclusions, he suspects the assumed suicide is really a murder, and becomes ... See full summary »
Commercial artist Daisy Kenyon is involved with married lawyer Dan O'Mara, and hopes someday to marry him, if he ever divorces his wife Lucille. She meets returning veteran Peter, a decent ... See full summary »
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Major Jim "Lance" Lansing, an American ex-pilot of the U.S. Air Corps, returns to Scotland after the war and finds much trouble in the glen where he settles because of the high-handed ... See full summary »
Elizabeth and John say goodbye as John leaves to go to war. When World War I ends, Elizabeth receives a telegram that John has been killed in action. She finds comfort in Larry and they marry. John returns 20 years later, disfigured, with a new identity, Erik, and an adopted daughter, Margaret. John/Erik and Elizabeth accidentally meet and he learns that he has a son, Drew. John must then decide whether or not to reveal his true identity. Written by
First credited screen appearance of Natalie Wood. See more »
Lucile Watson's name is misspelled "Lucille" in the opening credits. See more »
Won't you tell me the truth?
John Andrew MacDonald:
This is the truth. If you want to stop living in the present you can reach into the past but you'll never get back what you lost. You only lose what you have.
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Take a journey back to the mid-40s and enjoy this weepie about lost love and balancing pleasant memories against present endowments.
Colbert's character must wrestle with what she "lost" twenty years ago and what treasures she now has. Welles' character is there to assist in her deliberations, while Brent offers a conciliatory bridge between what was and is now.
The casting couldn't be bettered: what a treat to see Colbert and Welles working together. This provided Orson with one of his most sensitive roles, and he plays it with great compassion. Colbert and Brent are both excellent, and young Natalie Wood offers a most impressive performance as a war refugee. Richard Long is likewise fine as an idealistic young man wanting to do his part to make this a better world.
Max Steiner's score is unusually rich, complete with high voices mixed with strings, and a romantic main theme highlighting the essence of this sentimental script.
Irving Pitchel's direction is on target for this emotional material. Very beautifully rendered.
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