These are Leslie Howard's words to Bergman on the first night they have a drink together. It was his description of her. I think it is also an apt description for my opinion of this movie. I was expecting to like this more than I did. I am a sucker for a love story, but this one just didn't move me.
First, I find Leslie Howard rather lacking as a leading man. He is too much the disillusioned dreamer in almost every role I remember him being in. After a while, it just seems redundant. I think he tends to act overly melodramatic in places too. But I do think his violin playing looked very believable (even though it was dubbed). To sum up my opinion of Howard, using his own words from this film, "Not at all a fetching fellow." Howard is 46 years old here, compared to Bergman's 24 years - but somehow he pulls it off as he still has a youthful face.
Bergman, on the other hand, is remarkable in her American screen debut. At her young age, she is in my opinion already a seasoned performer. I think it just came so naturally for her. Also, its amazing that she was filmed without makeup, per Selznick's orders as he wanted to achieve the same fresh faced look she had in her Swedish films. The camera just loves her. The daughter, Anne Marie, played by Ann Todd is so adorable and acts quites naturally. Howard's wife is played by Edna Best, who looks and acts quite bland and comely. Perhaps this is on purpose so as to make the audience be more understanding how he could be unfaithful to his wife.
The cinematography is amazing - I especially liked the scene where they try to say goodbye and their reflection is caught in the shop window. I would think that would have been difficult to light.
Even though there is an obvious moral failing in the adulterous affair, there are good lessons such as when Halliday's character tells Bergman "I wonder if anyone has built happiness on the unhappiness of others". Bergman finally realizes this and tells Halliday "I have been an intermezzo in his life - we know where he belongs." Also, when Bergman finally leaves and writes a note, it says "Love like ours is wrong. It drags itself down with remorse and fears, and the unhappiness of others." Too bad more people don't heed that advice today. Another touching scene is Howard with his son when he returns back home. The son is bitter, to which Howard responds: "When we're young, we expect the people we love to behave like gods, especially our fathers. But sadly as we grow older, we realize we are all human, tragically human. We all make mistakes - one day maybe you'll understand. And if so, perhaps forgive... even your father."
I think there are admirable aspects to the film, especially Bergman's performance and the cinematography. I wouldn't call it a masterpiece, but it is worth a look.
First, I find Leslie Howard rather lacking as a leading man. He is too much the disillusioned dreamer in almost every role I remember him being in. After a while, it just seems redundant. I think he tends to act overly melodramatic in places too. But I do think his violin playing looked very believable (even though it was dubbed). To sum up my opinion of Howard, using his own words from this film, "Not at all a fetching fellow." Howard is 46 years old here, compared to Bergman's 24 years - but somehow he pulls it off as he still has a youthful face.
Bergman, on the other hand, is remarkable in her American screen debut. At her young age, she is in my opinion already a seasoned performer. I think it just came so naturally for her. Also, its amazing that she was filmed without makeup, per Selznick's orders as he wanted to achieve the same fresh faced look she had in her Swedish films. The camera just loves her. The daughter, Anne Marie, played by Ann Todd is so adorable and acts quites naturally. Howard's wife is played by Edna Best, who looks and acts quite bland and comely. Perhaps this is on purpose so as to make the audience be more understanding how he could be unfaithful to his wife.
The cinematography is amazing - I especially liked the scene where they try to say goodbye and their reflection is caught in the shop window. I would think that would have been difficult to light.
Even though there is an obvious moral failing in the adulterous affair, there are good lessons such as when Halliday's character tells Bergman "I wonder if anyone has built happiness on the unhappiness of others". Bergman finally realizes this and tells Halliday "I have been an intermezzo in his life - we know where he belongs." Also, when Bergman finally leaves and writes a note, it says "Love like ours is wrong. It drags itself down with remorse and fears, and the unhappiness of others." Too bad more people don't heed that advice today. Another touching scene is Howard with his son when he returns back home. The son is bitter, to which Howard responds: "When we're young, we expect the people we love to behave like gods, especially our fathers. But sadly as we grow older, we realize we are all human, tragically human. We all make mistakes - one day maybe you'll understand. And if so, perhaps forgive... even your father."
I think there are admirable aspects to the film, especially Bergman's performance and the cinematography. I wouldn't call it a masterpiece, but it is worth a look.