Marion, director as well as writer, crammed so many melodramatic topics into The Love Light that one feels as if she thought she'd never work on a film again. Spies, unrequited love, blindness, war, betrayal, death, theft, natural disasters, insanity, and a lynch mob on top of everything else. These are enough concepts to deal with comfortably in at least two movies, but they are all unhappily jammed into about 90 minutes.
Marion's husband Fred Thomson is easy on the eyes and natural on camera as the American that Italian Angela takes into her home. The other players are mostly standard overactors, with the possible exception of Edward Philips as Angela's charming younger brother Mario.
Another thing to beware: the all-too-modern score recently imposed upon it by Maria Newman. At times it seems as if she hadn't even seen the movie.
There are some good moments ("Stewed Chicken", for instance), but overall it's only for fans of the star and writer/director.