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 »
Dozens of star and character-actor cameos and a message about the Variety Club (show-business charity) are woven into a framework about two hopeful young ladies who come to Hollywood, ... See full summary »
Olga San Juan,
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 <email@example.com>
(at around 29 mins) When Deborah and Brad dance, she swings her back and forth. She has blurry vision of her (stationary) friends who should be swaying. See more »
It's a man's world. Yeah! See something you want, go after it and get it! That's nature. It's why we're made strong and women weak. Strong conquer and provide for the weak. That's what a man's for! Teach our kids that, there'd be more men!
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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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