Cary Scott is a widow with two grown children. She's been leading a quiet life since her husband died, socializing with a small circle of friends. Her children no longer live with her full-time but come home every weekend. She's not unhappy but also doesn't realize how bored she is. Her friend Sara Warren encourages her to get a television set to keep her company but she doesn't want that either. She develops a friendship with Ron Kirby who owns his own nursery and comes every spring and fall to trim her trees. Ron is much younger than Cary and their friendship soon turns to love. Her circle of friends are surprised that she is seeing such a younger man and she might be prepared to overlook that - Ron certainly doesn't care about the differences in their ages - but when her son and daughter vehemently object, she decides to sacrifice her own feelings for their happiness. Over time however, she realizes that her children will be spending less and less time with her as they pursue their...Written by
We first see Cary drive a 1955 2 door Lincoln but several scenes later she is driving a 4 door Lincoln. It is possible that Cary, a recent widow, still had both the car she normally drove and her late husbands. This would account for the two different cars. See more »
Mick discovered for himself that he had to make his own decisions, that he had to be a man.
And you want *me* to be a man?
[Giving her a knowing smile]
Only in that one way.
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Wyman and Hudson re-team for this classy melodrama
Due to the success of 1954's "Magnificent Obsession", Universal once again called on Jane Wyman, Rock Hudson, Agnes Moorehead, and director Douglas Sirk for this passionate, heart-gripping look at the hypocrisy of small-town America. Wyman, a rich widow in this well-to-do New England town, falls in love with her gardener (Hudson) and all hell breaks loose. Her community ridicules her and her grown children are horrified by her. She finds herself having to choose love or the respect of those around her.
The cinematography is beyond extraordinary, the score by Frank Skinner is unbelievably moving, Wyman is exquisite, and Sirk gives some of the best direction of his career. A really classy melodrama and completely worthwhile.
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