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Lee J. Cobb
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 <firstname.lastname@example.org>
The title must be a joke...this sick wifey wants nothing but sad songs
Well-heeled wife and mother in her forties, feeling run-down and believing she might be pregnant (!), learns from her doctor she only has ten months left to live; she keeps her secret from her husband and daughter, and doesn't interfere when her spouse gets eyes for another lady. Adapted from Ruth Southard's novel by Howard Koch, this is an infuriating undergraduate of the "Dark Victory" school of script-writing. Solely for the sake of melodrama, Margaret Sullavan's harried housewife begs her doctor to tell her the truth, but doesn't extend the same courtesy to her own husband (Wendell Corey, who instead asks over and over if she's all right, all the while with a pained expression on his face). Strictly a 'woman's picture' of the time, with a magazine serial-styled plot. Some of the dialogue confounds one with its absurdity, and Sullavan is far too efficient and business-like for a one-woman pity party. Natalie Wood skips through the movie in old-fashioned print dresses and braids, but Viveca Lindfors gets the worst of it in the obtuse role of a war-widow who begins to feel like a woman again when she's out with a married man. ** from ****
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