At Maria Vargas' funeral, several people recall who she was and the impact she had on them. Harry Dawes was a not very successful writer/director when he and movie producer Kirk Edwards ... See full summary »
Joseph L. Mankiewicz
The only son of wealthy widow Violet Venable dies while on vacation with his cousin Catherine. What the girl saw was so horrible that she went insane; now Mrs. Venable wants Catherine lobotomized to cover up the truth.
Joseph L. Mankiewicz
When powerful publishing tycoon Earl Janoth commits an act of murder at the height of passion, he cleverly begins to cover his tracks and frame an innocent man whose identity he doesn't ... See full summary »
Three women are going on a trip that leaves incommunicado with the rest of the world and before they leave; a woman who either has a history or relationship with each of their husbands ... See full summary »
Lora May Hollingsway, who grew up next to the wrong side of the tracks, married her boss who thinks she is just a gold digger. Rita Phipps makes as much money writing radio scripts at night as her school teacher husband does. Deborah Bishop looked great in a Navy uniform in WWII but fears she'll never be dressed just right for the Country Club set. These three wives are boarding a boat filled with children going on a picnic when a messenger on a bicycle hands them a letter addressed to all three from Addie who has just left town with one of their husbands. They won't know which one until that night. Written by
Dale O'Connor <firstname.lastname@example.org>
Melville Baker and Dorothy Bennett wrote the first treatments of the script. Even though he was not credited for the final film, it was Baker who had the idea that the character Addie was only to be heard, and not seen. See more »
The fluid in the martini pitcher started out as dark, but later was clear. See more »
You oughtn't to run around like that. You'll get consumption.
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There's no doubt about it: "Letter to Three Wives" is, to use a character quote from the script, a "Bingo!"
I agree that the screenplay, directing, acting, and general production are all excellent. What a pleasure to see how well it holds up after so many years.
Constantly engaging, a powerhouse, perfect cast offers beautifully modulated performances, and the writing is creatively brilliant.
I'd forgotten what an effective actor is Paul Douglas. Like Thelma Ritter (also in the cast) he seems like an ordinary guy from real life, not even "acting." Both he and Ritter are "naturals," in that they just seem to "live" their parts, never showing their technique.
Plaudits also go to Linda Darnell, whose scenes with Douglas are gems, as well as veterans Ann Southern, Jeanne Crain and Kirk Douglas. Their casting couldn't have been bettered.
Here's a film that seems to, like fine wine, grow increasingly better with age. It's becoming (if has not already become) a genuine classic.
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