After marrying an American lieutenant with whom he was assigned to work in post-war Germany, a French captain attempts to find a way to accompany her back to the States under the terms of the War Bride Act.
As Julie prepares to leave her husband Roger, she begins to play through a stack of recordings, each of which reminds her of events in their lives together. One of them is the song that was playing when she and Roger first met in a music store. Other songs remind her of their courtship, their marriage, their desire for a child, and the joys and sorrows that they have shared. A flood of memories comes back to her as she ponders their present problems and how they arose.Written by
Prior to hiring Georges Stevens as a director for Columbia Pictures, Harry Cohn, the big boss of the studio, promised him to never interfere in Stevens's directing job, but Cohn only asked him not to smoke on the set, Inside the studio. Stevens eventually followed the orders and smoked behind Cohn's back. See more »
The record shown playing is a bat wing Victor that was produced prior to 1925, making it historically incorrect. See more »
She's yours, dear. Ours, now and forever. Nothing can ever take her from us now.
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Silent Night, Holy Night
Music by Franz Gruber
Lyrics by Joseph Mohr
English lyrics anonymous
Played at the Christmas play and sung by the children
Reprised at a second Christmas play See more »
With sympathetic main characters and an approach that is usually understated enough to avoid over-sentimentality, this bittersweet story works reasonably well most of the time. Irene Dunne plays this kind of role well, handling a wide range of material while keeping her emotions and reactions restrained enough to be believable. Cary Grant is better than one might expect him to be in this kind of role. It's possible that Edgar Buchanan's performance might be the most important of all in holding it together, since he is ideal in providing some down-to-earth balance, whether his character is repairing printing presses or giving the young couple some tips on taking care of their baby.
Director George Stevens does a good job with the pacing, and the story-framing technique with the various songs works pretty well. While there may be a few moments when the sentimentality gets dangerously high, most of the time it remains balanced, and certainly more so than is the case with present-day movies of this kind. It's far from flawless, but it is generally effective in telling the kind of story that takes a combination of sensitivity and restraint to tell believably.
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