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  • This movie, wonderfully performed, touches some deep aspect of human life under stress. The combination of war and love affairs is not new. Neither it is the attraction between a mature man and a young girl. However, the spectators must be mislead if they follow that path. Why the movie is about trusting, at different levels: husband and wife, lovers, mature and young, at home, at work, at the pub. There is also a political involvement: the voice of the people, which has two sides. Love can be lost, honor will not. This motto is crucial.The war is an ominous backstage, never shown. Walter Pidgeon makes an extraordinary performance, the rest of the cast does not lag behind. The final scene is simply convincing: as it has to be. Appreciating it requires some insight, undoubtedly.
  • Warning: Spoilers
    An impressive array of talent was gathered for this morality story, though no one winds up being particularly well served by the film. Always reliable Pigeon plays a writer in a small English village who's been passed over for a promotion by his rather dastardly employer and another associate. He's married to an impossibly shrewy and exacting wife (Lansbury) and dreams of a lost love (Kerr), who jilted him for another man a few years prior. When Kerr shows up in town again, Lansbury's fur begins to rise, though she tries to keep her cool. However, when Pigeon befriends a rather shy and troubled girl (Leigh) who is in desperate need of help, both emotionally and physically, Lansbury loses it and leaves Pigeon, creating a domino effect of angst for virtually everyone. The scandal costs Pigeon his job and his respectability within the community while Kerr attempts to aid him. The story line sounds more interesting than it actually plays out, though there are a few decent things to recommend about the film. Pigeon, though perhaps a little old to be playing a newlywed, is solid throughout and remains likable the bulk of the time. This isn't easy considering how bull-headed and chokingly noble his character tends to be, no matter what the cost. Kerr hasn't got very much to do. She comes off as mannered and stiff at times, especially in her immaculate military ensemble. The two attempt to drum up some chemistry, and do, but not quite enough of it (the fact that she disappears for a long stretch doesn't help convey their great love to the viewer!) Lansbury (who was only 22 and wearing age makeup) thoroughly detested her role, but at least her unendingly bitchy dialogue and attitude add a small amount of much-needed spark to the proceedings. She seems to be a British "Harriet Craig" in some ways. Leigh, in an early role, doesn't embarrass herself as a Brit and gives a nice, tender performance. Another dose of vinegar is given to the film by Barnes as a pushy, mouthy neighbor and friend of Lanbury's. Many other terrific character actors dot the cast. Credit must also be given to the nice cinematography with its pleasant and crisp black and white contrast. The chief issue seems to be that the story is a dense and complicated one and there isn't time to really delve into the relationships and their progressions as much as one might like. There's also an ending which may please those who love to hold to their standards above all else, but which may have some viewers shaking their heads in disbelief at the idiocy of it. It's a somewhat bleak affair, with Pigeon unable to catch a break from anyone as practically the entire village becomes a lynch mob. It's worth seeing for the strong and talented cast, but isn't likely to thrill most audience members.
  • Despite some of the negative reviews on this site, I really enjoyed this 1947 film, which is set in England right before war is declared in Europe.

    Walter Pidgeon is Mark Sabre, a successful writer of children's books, who works at a prominent publishing house. He is well respected and liked in the small town of Penneygreen, where he lives. Though he is a shareholder in the company, he will never be made partner because his boss thinks that Mark's political views are too radical. In fact, he'd love it if Mark weren't even in the company. But the only way he can get rid of him is if Mark violates the morals clause in his contract.

    Mark married the formal, somewhat cold Mabel (Angela Lansbury) on the rebound. Now his former love, Nona (Deborah Kerr) returns to town with her husband after a long absence. Nona and Mark realize that they are still in love, but decide for the moment that they can't act on their feelings.

    Mark's situation is complicated by a young pregnant woman, Effie (Janet Leigh) who turns to Mark for help after her father turns her out. Mark takes the girl in, and Mabel, believing him to be the father, leaves him. A scandal erupts, and Mark's career and reputation hang in the balance.

    "If Winter Comes" is an absorbing drama with good performances. Walter Pidgeon was a solid leading man and is sympathetic and strong here as the principled Mark; as the nasty Mabel, Angela Lansbury, then only 21, is very effective. With darker hair and the way her makeup is done, Deborah Kerr continues to remind me of Maureen O'Hara in her early films. She gives a lovely performance, a good juxtaposition to Lansbury's judgmental, snobbish Mabel. As Effie, Janet Leigh justifies her discovery by Norma Shearer; she sports a good English accent and gives a heartfelt portrayal. Binnie Barnes, Dame May Witty, Reginald Owen, Hugh French, and Dennis Hoey round out the excellent supporting cast.

    Recommended, and not only to people who liked Mrs. Miniver.
  • Warning: Spoilers
    I rate this film 3 stars - one for each good performance by three of it's stars. Walter Pidgeon is likable as Mark, a kindly gentleman who reaches out to those in need and treats everyone with equal courtesy, regardless of their social class. Angela Lansbury is convincing as his cold, snobby wife. Janet Leigh tugs the heartstrings as Effie, the pregnant girl Mark tries to help when she's cast out by her strict, religious father.

    Acting aside, I found the story too melodramatic, with poor pacing. For instance, there are several scenes in a row with Mark and his former flame, Nona (Deborah Kerr). Personally I would've spread them out a bit - inserted scenes with other characters inbetween to indicate more of a passage of time. The way it stands, her character development and the evolution of their relationship, suffers - and I suffered whiplash! First Nona's apologizing for the abrupt way she dumped Mark for another guy, but they plan to stay faithful to their current spouses - in fact it's not clear that she still carries a torch for Mark anyway. BAM! Now she can't stand it anymore, she's going to be selfish and throw herself at Mark. BAM! Next scene Nona's telling him they've made a mistake and giving him up. The way these events happen in quick succession, didn't help endear this character to me.

    We're obviously meant to see her as Mark's one true lost love, and Deborah Kerr gives a nauseatingly saintly performance. The script even contrives to give her perfectly nice husband, who adores her, a gambling problem - weakly implied by one late-night party scene - it doesn't really seem like a big deal to me, but Nona freaks out. I assume this is meant to justify her infidelity and convince us that she belongs with Mark? Nevertheless, she comes across as indecisive and incapable of true depth of feeling.

    Nona pretty much disappears til the end of the film (Pacing!), showing up to defend Mark when the town's turned against him. She loves him *SO* much that she burns the letter Effie wrote, which would prove his innocent involvement in that girl's tragic circumstances. Nona would rather show him that she doesn't care about the wrongful accusations made against him - that *she* will stick by him even if the rest of the world thinks badly of him. Well, isn't that nice. Nice for her martyr/saint/guilt complex. But if Nona really loved Mark, she'd be thinking more about him than herself and trying to show herself in a positive light! She'd want to restore his reputation and make all the people who believed the worst, ashamed of themselves. She'd want to prove that he's a good person. At least, I would, in her shoes. I just can't stand this character. Maybe with another actress...but I'm not impressed by Deborah Kerr.

    I hated the ending, and found the film dreary overall. Needed more humour - more moments like Walter Pidgeon's jokey interactions with the servants, "High" and "Low" Jinx.
  • This film begins in England...just a few months before World War II begins in Europe. Mark (Walter Pigeon) and Mabel Sabre (Angela Lansbury) have been married three years--and it turns out he married her on the rebound. His old fiancée, Nona (Deborah Kerr) has just returned to her home town....the first time since she broke Mark's heart. Mark and Nona are foolish, as the start spending time together alone 'as old friends'. Not surprisingly, however, it stirs up feelings within them--dangerous feelings for both their marriages. Soon, however, Mark pushes Nona away and remains true to his wife.

    Over time, it becomes painfully obvious that Mark is a very nice guy. While his wife is easy to dislike since she's so unpleasant, he wants to fulfill his obligations to her and the marriage. He also is very kind to a young neighbor, Effie (Janet Leigh)--as she lives with a puritanical and tyrannical father. When Effie becomes pregnant and is thrown out of her home, Mark invites her to live with them. This throws Mabel into a nastier than usual mood. She verbally abuses her servants and so they quit, then she lets Mark know that Mark must do nothing to help Effie. Mark chooses, instead, to tell his wife to get out...she's gone too far.

    After young Effie moves in, Mark's boss uses this as an excuse to break his contract by firing him. They claim he's violated a morals clause. Can things get worse in this very soapy film....oh, yeah! The moralistic town begins to boil like a cauldron...why and what happens is something you'll need to see for yourself. Be aware, however, that it is a bit racy for a 1940s film.

    While you do feel sorry for Mark because he's such a decent guy, as you watch you might also feel that he's incredibly foolish and makes many dumb choices. Clearly he's backed himself into a corner and now it looks like everyone is ready to tear him to pieces.

    Despite Mark being a bit dumb (and by the end he seems like a TOTAL idio), the film is pretty good. As I mentioned above, it is very soapy--like a traditional soap opera with LOTS of salacious elements. But it works because the acting is so good--otherwise the film might have come off as too over the top and perhaps even silly. Worth seeing but blunted a bit because Mark was just too nice--almost a putz in the film. Otherwise I might have scored it a bit higher.
  • This was sort of two movies in one. It started out with Angela Lansbury as a self-centered woman who was fearful that her husband (Walter Pidgeon) would be drawn back to his old flame. Lansbury was quite good as the wife who had an interesting approach to this situation. But later, the movie turned into a story about a young woman (Janet Leigh, doing a good British accent), who turns to Pidgeon for help and inadvertently causes a host of problems for him. Deborah Kerr is also good as Pidgeon's old girlfriend, but even with the good cast, the movie overall is little more than a confused soap opera, and the ending doesn't make much sense. Not one I'd recommend, unless you're a particular fan of anybody in the cast.
  • As mentioned in another review this film admittedly appears flat in the beginning, but develops rapidly into a well-blended story about true love, charity, and the foibles of human misunderstanding and communication akin to those so eloquently portrayed in the American film 'Peyton Place.' Both films are set in small, idyllic towns as well, with this one in England, and both films show the ongoing impact of WWII loses of native sons on their respective communities.

    The addition of three extremely accomplished actresses in the initial flash of their stardom -- Angela Lansbury, Deborah Kerr, and Janet Leigh -- makes this film evermore an enjoyable watch.
  • Warning: Spoilers
    I'm a little surprised at the low rating of this film on IMDb. I would guess most of our reviewers are from the U.S., where scandal has to be really scandalous to make much of an impact. I'm from the States, too, and generally don't like British films, but once in a while one comes along that strikes me just right...and this is one of them. Of course, this isn't really a British was filmed by MGM in Hollywood...but it does feel like one...with a better pace (my main complaint about older British films). Interestingly, for a while, I kept seeing Greer Garson as the perfect star in this film, only to read later that it was to be her film. But, the more I got into it, the more I could see why Garson did not make this film.

    The story gets a bit complicated, but suffice it to say a man (Walter Pidgeon) marries on the rebound, and his wife (Angela Lansbury) doesn't appreciate him. He is still in love with another woman (Deborah Kerr), and she is still in love with him. So, first there's that triangle. Then he insists on helping a young pregnant woman, and many in the town feel it's an illicit relationship...which it isn't. The pregnant girl realizes she is dragging him down, so she commits suicide, and he is blamed, if not legally, than morally. Which brings on a heart attack...but also the return of his first love (Kerr).

    Walter Pidgeon is superb here.He played his part perfectly. Angela Lansbury comes off well at first, but later in the film becomes a real b----. A logical transformation? You decide. For me it was a bit much, although it did facilitate the story line. Kerr is the opposite -- a home-wrecker in the first half of the film, but far more sympathetic later in the film. Logical...more so. Janet Leigh, as the pregnant girl is excellent, and this is a bit of a different role than what we came to expect of her later in her career. It's nice to also see Dame May Witty, though her role is quite small...though important. Reginald Owen and John Abbott are excellent in their roles as the "bad guys" who fire Pidgeon for moral reasons.

    I liked this film very much, and recommend it.
  • Perhaps a stronger director and a more powerful script could have made something of IF WINTER COMES, a handsomely produced soap opera (veddy British style, old man). WALTER PIDGEON is a writer of educational books who sees his job status disintegrating under the weight of a scandal when a young girl (JANET LEIGH) is given shelter under his roof due to his kind nature. His shrewish wife (well played by ANGELA LANSBURY) suspects he's paying too much attention to the girl and later accuses him of adultery.

    But this is no "Peyton Place," even if the bare outlines of the story makes it seem possible that something more than this tedious film could have been made from this material. Some interesting character roles by REGINALD OWEN and JOHN ABBOT as his office colleagues bent on destroying him are good for background effect. But the story between him and DEBORAH KERR (they're ex-lovers) is weakly executed and their relationship is never clearly defined or made even somewhat believable.

    Handsomely photographed amid some very British looking settings, supposedly in 1939, the story never really comes to life despite the lurid implications. Pidgeon calls every male friend "old man" so many times, you have to wonder if this was an attempt to make sure the viewer knew this was taking place in Penny Green, England rather than the MGM lot in Culver City.

    JANET LEIGH, as the sad young woman who finds herself pregnant after her soldier lover goes off to war, shows promise of the bright future in store for her as an actress. DAME MAY Witty has a brief supporting role, one of the least substantial roles she ever had in an MGM film.

    Character development is slow for the first part of the film and the story doesn't even begin to take shape until the first hour is up. By that time it's too late to inject any life into it.

    "If winter comes, can spring be far behind?" says the poem. Not soon enough for me.

    Summing up: A dud that wastes a talented cast.
  • As a novel, If Winter Comes was a huge best seller back in the 1920's. Subsequently, there was a silent movie (1923) which was a hit. The book is set during WWI, but this film updates the story to WWII. Otherwise, it follows the book fairly closely.

    It's an inspiring story of a man, Mark Sabre, living and working in a small English village, trying to do the right thing, despite being greatly misunderstood and persecuted for his humanitarian actions. He loses his job, his marriage, and his health, but holds on to his values.

    Walter Pidgeon is well cast as Sabre. At 50, this was one of his last romantic leads.

    A married woman Sabre discovers he's still in love with is luminously portrayed by Deborah Kerr; as Sabre's wife, Angela Lansbury is fine, but I think a bit one- dimensional. Janet Leigh is particularly good as Effie Bright.

    It's a compelling story, let down by some screenplay flaws and the heavy-handed direction of British-born director Victor Saville, never a master craftsman, to put it mildly. The film should have had more subtlety and depth. Nona's marriage, for example, seems perfunctory, over in one or two meaningless scenes. There's a potboiler aspect to the production, and, though a bit reminiscent, at times, of Mrs. Miniver and other MGM "back lot Britain" pictures like Random Harvest, If Winter Comes just never reaches that level of polish or excitement.
  • If Winter Comes is an unusual story that pits pits Mark Sabre, a kind and respectable man played by Walter Pigeon, against a town that seems bent on vilifying anyone who strays from the straight and narrow, even when there is no real evidence for his presumed misdeeds. Walter Pigeon is in his usual role as a model citizen, which he plays so often in movies like Mrs. Miniver, Advise and Consent, and Executive Suite. Janet Leigh, Deborah Kerr, and Angela Lansbury, play his friend, lover, and wife, in that order. Janet Leigh was particularly good as the innocent girl, with whom he is presumed to have a romantic interest. Deborah Kerr is his real love interest and whose love and loyalty is unwavering. Deborah Kerr is usually typecast in roles as the English lady who is never quite at ease with the opposite sex. In this movie, she has no doubt about who is the love of her life and pursues Mark, despite the steadfast love of her own husband. Finally, Angela Lansbury is very cold, efficient and downright mean as Mark's wife. Reginald Owen is the boss who uses a morality clause in Mark's contract to get revenge on a man whose generosity and common touch are too unconventional for his liking. I was pleased with the cast of the movie with Deborah Kerr shining in the final court room scene.
  • This film is based upon a novel by a long-forgotten novelist, Arthur Stuart-Menteth Hutchinson (1879-1971), who was born in colonial India, and who earlier wrote a novel called THE HAPPY WARRIOR which was made into a silent feature film as long ago as 1917, in which Leslie Howard made his first feature film appearance. This film, IF WINTER COMES, was also initially made into a silent film in 1923 with a cast of actors all of whom are now entirely forgotten in the mists of time. The very powerful and disturbing story was thus a postwar tale, but one told of the aftermath of the First World War, but which is here recycled and set in the aftermath of the Second World War. Walter Pidgeon plays the lead, a gentle and kindly man living in the fictional Surrey town of Tidborough and married to an embittered harridan of a wife, played by Angela Lansbury, who certainly knew how to play embittered women and have a pinched face and the tongue of a serpent. The film is chiefly notable for the second screen appearance of Janet Leigh, aged twenty but successfully playing an innocent 16 year-old girl named Effie Bright, who is all sweetness and light. And who ever had a sweeter smile than Janet Leigh at this age? Despite being American, she manages a British accent successfully enough. The romantic female lead is played by an impassioned Deborah Kerr, at her most intense. She has returned to the town and has her heart set on joining up again with Walter Pidgeon whom she had jilted three years earlier when she ran off and married the wrong man. Pidgeon is a bit wooden, so that one wonders why all this passion is swirling around him. He is excellent at being kindly and noble, and in fact during my brief acquaintance with him in my teens, he was exactly like that offscreen. 'You couldn't find a nicer man.' But that is not the same as inspiring an controllable passion in Deborah Kerr when she is on heat. Oh well, that's the movies for you. Victor Saville did an excellent job of directing, and the film works very well. Dame May Witty has a cameo role, and it is always a pleasure to see her. The story however is very powerful and upsetting. It is about a man with a good heart who through his kindness becomes a central figure in a vast misunderstanding, where he stands accused of all sorts of terrible things which he did not do. Most of the people of the town are exposed as bitter and small-minded, and they turn against him en masse. It is really very harrowing indeed. This makes for good drama, and there is plenty of desperate tragedy.
  • rube242423 April 2007
    Warning: Spoilers
    The films of the 30's and 40's are known today as those of "the Golden Age," and in that age, MGM stood at the forefront of creating classic entertainment. Every now and again, however, even MGM came a cropper, and with IF WINTER COMES they hit close to the bottom.

    I only watched this film on TCM because a friend of mine has a framed one sheet of it in his home, a sheet he puts up on December 21st of every year and takes down the following March 21st. Nice idea, nice poster. But what a dud of a film.

    Walter Pidgeon plays a man of principle married, on the rebound, to a shrew of a wife (Angela Lansbury). He has been thrown over for no seemingly good reason by the love of his life, Deborah Kerr. When the film begins Kerr reappears to say that she made a mistake and will always love Pidgeon. Ditto from Pidgeon. But the two ex-lovers are far too noble to leave their respective spouses, so they continue as "friends" as WW2 hits the British Isles. Pidgeon's bosses hate his liberal, humanistic attitude and are constantly looking for a way to get rid of him. Enter Janet Leigh, a young girl who lives with her heartless, toe-the-line, Bible reading father, (Rhys Williams). When she gets pregnant and tossed out by her Dad it is Pidgeon (of course!) who takes her in prompting Lansbury to file for divorce citing adultery. From there on it is one rung after another on the road to complete collapse for Pidgeon.

    Handled in a better way this might have been a good soaper, but the screenplay is sloppy, the editing choppy, the direction almost non-existent and the acting by Pidgeon, Lansbury and Kerr all stiff as a board. (Even wonderful Mae Witty, in a minuscule role, chews a bit of scenery before she is dispatched.) The best acting award, at least from where I was sitting, goes to young Janet Leigh who brought a quiet dignity and warmth to her role.

    Mean spirited to an astonishing degree and clunky at almost every level, I have to wonder what MGM was thinking when they chose to make the film in the first place.

    After seeing IF WINTER COMES I intend to find a new one sheet for my friend, maybe WINTER MEETING or WHITE Christmas, anything, in fact other than this nightmare from MGM, the dream factory.
  • Warning: Spoilers
    This "woman's picture" is an attempt to cash in on the success of Mrs. Miniver. They even hired Walter Pigeon as the hopelessly unworldly writer of school text books. This man is so out of touch with reality that he quotes poetry in the local pub! His holier than thou demeanor and constantly airing his superior education before the common folk set him up for his subsequent comeuppance.

    Possible Spoilers ahead:

    The story is a weepy about the upheaval and disruption caused to the residents of a small English village at the outbreak of WWII. A gentle young man living with his elderly mother is called off to war leaving her alone. A not quite socially acceptable young woman, beautifully played by a young Janet Leigh, is involved with a young man whose father has sacrificed everything in order for his son to rise in the world. The religiously affiliated book publishers are more concerned with their reputation than concern for their fellow men. The young woman in need is turned out by her bible thumping God fearing bigoted father. The writer has married a rather catty snob on the rebound from his real love; although, with Deborah Kerr's excruciating clipped British accent he would have to be deaf to live with it. Good intentions go awry and gossip ruins lives. In a quiet way, this is an anti war film. Young men go to war and don't come back. The lives of those left behind are ruined, but everyone still swallows hard and does his bit.
  • A melodrama which takes off mainly in its second part ,when Sabre (Pidgeon) does everything to help Effie (Janet Leigh) ,the unfortunate young girl who falls pregnant

    at a time it was not considered "correct" by well-meaning people.Fine depiction of everyday life and plenty of talk of the town.

    Angela Landsbury's and Walter Pidgeon's marriage is on the rocks .He is in love with another woman (Deborah Kerr).As I wrote above,best scenes are those when Pidgeon is alone against the whole town who suspects him of having got Effie pregnant.

    Should appeal to people who like stuff like "Mrs Minniver" (1942),but Wyler's work is much better though.
  • First of all will you tell a couple of the birds who wrote critiques of this picture that a pigeon is a bird, and that Pidgeon is a movie actor. For heaven's sake, if you are going to try to sound so learned, at least get the name of the leading man straight. Look - Pidgeon, Pidgeon, Pidgeon. Got it??? As for the picture itself, it is a delight for those who enjoy such movies as "Love Story" and "An Affair To Remember." This one does not have the big budget, but it has the same affect on the heart.

    Pidgeon - the actor - is a little too goody-goody, but he is always a joy to watch as he is in this movie playing, to say the least, a misunderstood gentleman. Co-star Kerr is at her loveliest/sweetest, and Angela Lansbury is at her bitchiest without going overboard about it.

    This was an early effort for Janet Leigh who is super cute/sweet, a real heart capturer.

    The trial scene was effective, and all in the cast were quite good. If you want a warm, heart-tugging movie, try this one on for size. It will fit.
  • Set in a small English town just before the beginning of WW2, the story follows the trials and tribulations of Mark Sabre (Walter Pidgeon), a good, decent man married to the shrewish Mabel (Angela Lansbury). He's secretly in love with the also-married Nona Tybar (Deborah Kerr), but both are hesitant to make a move forward. When the war breaks out, Mark discovers that young Effie Bright (Janet Leigh) is pregnant, and the father is a mystery that she won't divulge. Forced out onto the streets by her religious father, Mark agrees to take Effie into his home, much to the rage of Mabel, and the condemnation of his fellow townsfolk.

    The overstuffed script reveals the material's literary roots, with perhaps one or two too many minor characters for the 90+ minute running time. I get the feeling this was supposed to be a an Oscar contender for Walter Pidgeon, but he's not quite up to challenge, faltering in the film's last act with some amateurish acting. 19-year-old Janet Leigh, in only her second film, seems to have had trouble with her British accent as much of her dialogue is noticeably looped. Poor Angela Lansbury was only 22, and she auditioned for the role Leigh got, but was instead cast as the disagreeable wife of 50-year-old Pidgeon. Kerr often seems like an afterthought, a victim of the script trying to do too much. The clash of old morals mixed with small-minded people and small-town gossip would make this a good addition to a triple bill including My Reputation and Cass Timberlane.
  • Good deeds better be their own reward since they can easily backfire as the movie shows. Poor Mark Sabre (Pidgeon) undergoes something of a mid-life dedication to doing good for others above everything else. Maybe it's a reaction to his cold-hearted wife (Lansbury) or renewed affection for now married former flame Nona (Kerr). Whatever the reason, circumstances are conspiring to ruin him because of his kindness. So how will things finally sort out.

    It's the kind of production MGM specialized in—classy players in classy surroundings (British). Nonetheless, the topic of unwed motherhood was rather daring for its time, figuring quietly but importantly in the plot here. It's Britain 1939 and civil society is responding to WWII mobilization, including the small town of Pennygreen, whose sons are suddenly marching off to war. While on the homefront, volunteers are flocking to boost civil defense.

    The movie's first part meanders some, appearing to head in one direction— namely, straightening out Sabre's love life. But then his lady-love Kerr largely disappears from screen, gone into civil defense. At the same time, the second part changes direction, picking up in suspense, when the unlucky Effie enters the picture. Because of Sabre's selfless attitude, we can't be sure how the movie will end. Still, I wonder if there isn't a backstory to Kerr's abrupt absence and the resulting shift of direction.

    Anyway, in my book, a youthful Leigh steals the film with a highly sensitive turn as the star-crossed Effie. It's easy to see why she climbed the Hollywood ladder so quickly. At the same time, the unknowns playing High Jinx and Low Jinx manage to spark proceedings with their imaginative character concepts. Of course, vets like Pigeon and Kerr come through on cue, while Lansbury's stony wife would send any guy packing.

    All in all, it's well done soap opera with a few surprises that should please fans of tangled relationships.
  • Warning: Spoilers
    This is certainly not one of your run in the mill love triangle involving Walter Pidgeon, Deborah Kerr and Angela Lansbury. There is so much more involved in this 1947 film.

    Too many deaths occur in this film; although, I guess they have their reason for this.

    Pidgeon, as the upright British man, who married Lansbury on the rebound. She has a rather cold veneer here in the film and it suits her well. She tests to see if Pidgeon is still smitten with Kerr, but that's not what it's all about.

    Pidgeon takes in a young Janet Leigh to his home when she finds herself pregnant and with a father who throws her out. Thinking that the child is Pidgeon, Lansbury flees and when Leigh finds out that the baby's father has been killed in the war, she kills herself.

    The truth is about to come out just when Pidgeon suffers a coronary. The film also deals with Pidgeon's liberal leanings and the book firm's conservative owners attempt to get rid of him for violating what is called the moral part of his contract.