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Mary Scott learns she only has ten months to live before dying of an incurable disease. She manages to keep the news from her husband, Brad and daughter, Polly. She tries to make every moment of her life count, but her effort is weakened by the discovery that Brad is interested in his assistant, Chris Radner. But when she learns that Brad does indeed love her and not Chris, and that Chris is leaving town, she realizes what she must do to ensure the future happiness of Brad and Polly. She persuades Chris to stay, makes a genuine friend of her and watches Polly grow towards Chris. Written by
Les Adams <email@example.com>
The studio should have pronounced this one D. O. A.
Margaret Sullivan, in a rare leading role, gets to sing her career swan song in an unfortunately lifeless sudser. She plays a middle-class housewife dying of an incurable disease.
The movie starts out as an interesting portrait of her wish to face this death with dignity. Unfortunately, the rest of the movie is as maudlin as anything Hollywood has ever delivered -- and that's quite a statement. Some excellent character actors get to play well-meaning but ultimately self-absorbed guest stars in her life's terminal phase. Then, at the end, it further degenerates to completely unsatisfactory moralizing tone, wrapping up loose ends.
Roughly around this time, Mate, the movie's director, directed the classic film noir, D. O. A., where star Edmond O'Brien plays a man dying of interminable disease. I wish I could be more pleasant about Sullivan's overwrought valedictory performance, but in truth, it should have been buried in the film's can as D.O. A.
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