A crippled lady songwriter meets an older lawyer, who becomes her first love.
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Title: The Affair (TV Movie 1973)
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Cast
| Cast overview, first billed only: | |||
| Natalie Wood | ... | Courtney Patterson | |
| Robert Wagner | ... | Marcus Simon | |
| Bruce Davison | ... | Jamie Patterson | |
| Jamie Smith-Jackson | ... | Jennifer (as Jamie Smith Jackson) | |
| Pat Harrington Jr. | ... | Frank (as Pat Harrington) | |
| Kent Smith | ... | Mr. Patterson | |
| Paul Ryan | ... | Bobbie | |
| Frances Reid | ... | Mrs. Patterson | |
| Mark Roberts | ... | Howard | |
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Anna Aries | ... | Annie Simon |
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Steve Riskas | ... | Peter |
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Brett Ericson | ... | Evan |
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Robert Stull | ... | Michael |
| Anna Karen | ... | Willa | |
| Paul Pepper | ... | Engineer | |
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Plot Summary
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Storyline
It was love at first sight for Marcus Simon an attorney when he saw Courtney Patterson a 32 year old composer crippled by polio. Marcus tries to slowly and gently remove the emotion barriers Courtney built around herself and give them both a chance at love and happiness. Written by Anonymous
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Written by Renée Armand and Jim Gordon
Performed by Natalie Wood
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Did You Know?
Trivia
Natalie Wood was pregnant while making the movie and named her daughter Courtney Brooke Wagner after the character she played. See more »Soundtracks
I Can't See You AnymoreWritten by Renée Armand and Jim Gordon
Performed by Natalie Wood
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Details
Country:
USALanguage:
EnglishRelease Date:
20 November 1973 (USA) See more »Also Known As:
Love Song See more »Company Credits
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Natalie Wood portrays Courtney Patterson, a polio disabled songwriter who attempts to avoid being victimized as a result of involvement in her first love affair, with her partner being attorney Marcus Simon, played tepidly by Wood's real-life husband, Robert Wagner. The film is cut heavily, but the majority of the remaining scenes shows a very weak hand from the director who permits Wagner to consistently somnambulate, laying waste to a solid and nuanced performance from Wood, who also proffers a fine soprano. The script is somewhat trite but the persistent nature of Wagner's dramatic shortcoming is unfortunately in place throughout, as he is given a free hand to impose his desultory stare at Wood, which must be discouraging to an actress. The progression of their relationship is erratically presented and this, coupled with choppy editing, leads the viewer to be less than assured as to what is transpiring, motivation being almost completely ignored in the writing. Although largely undistinguished, the cinematography shines during one brief scene when Wood is placed in a patio and, following the sound of a closing door, remains at the center while the camera's eye steadily pulls away demonstrating her helplessness and frailty. More controlled direction would have allowed the performers, even the limp Wagner, to scale their acting along the lines of an engaging relationship; as it was released, there is, for the most part, an immense lack of commitment.