During WWII, beautiful Noelle meets dashing American pilot Larry in France and falls in love. She expects him to marry her, but instead he abandons her and meets successful Catherine in the United States and they marry. But Noelle hasn't forgotten him even as she's become a successful actress. She maneuvers to have Larry hired as the private pilot of her wealthy and powerful lover Constantin so she can seek revenge on him, but instead they rekindle their passion. Desperate to be together, they make deadly plans. But soon the lovers face a terrible fate determined by the jealous Constantin using Catherine as his pawn.Written by
Because of the phenomenal success of the book on which this film was based, 20th Century-Fox was sure the film was going to be a huge hit at the box office. At the same time there were such low expectations surrounding Star Wars: Episode IV - A New Hope (1977) that many theaters refused to book it. So Fox came up with the idea of a package deal, telling theater chains that if they wanted this movie they had to book "Star Wars" first. This movie went on to become a box-office dud while "Star Wars" went on to become one of the most successful films of all time. See more »
When Noelle insists that Larry fly her to Switzerland in Deneris's private plane in the middle of a snowstorm, the plane lands at night on a 1970's airport runway. Seen through the plane's windshield, the runway has pathfinder landing lights along its edges and strips of florescent landing lights down its center. (A 1947 airfield would have used large searchlights as landing lights.) See more »
If this were to have been done twenty years later with a modern sensibility, gullible stars, a more lethal editor, and a spot more atmosphere, it could well have ended up as a hit. The budget was obviously good, and the photography is mostly excellent despite its too-frequent descent into seventies syrup. The lighting (and look) tends to be pretty uniform - for example, Wartime Paris was apparently a beautifully colorful time, and the mood gay and sumptuous, but then so is everything else, right down to the fitted carpet. The debt owed to the black and white classics is apparent, but there is something very unconvincing about using the old styles of movie-making with full-on glossy, TV color. A shame they didn't go all the way, and let the hammers fly -for heavens' sake give me some deep shadow when the lights are on. All in all, the zoom lens is over-active, the script underwhelming, and the score dreary. The performances, however, are lively and committed and the styling and costumes sometimes inspired. "Entraptured" as I was, I couldn't help feeling I was watching a Judith Krantz novel....oh, that's right - it's Sidney Sheldon! Compelling nonetheless...
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