There's little plot line to be had for the majority of this tearjerker, the second film of Jane Russell's to be filmed, but the first to get an official release. Jane's a sweet but troubled widow, back from the war and unable to talk about her late husband. Former employer Kent Taylor desperately wants her back, and old pals Penny Singleton and Marie Wilson ("Blondie Meets Irma!") try to get her spirits raised. A friendly lieutenant (Louis Hayward) perks her interest, but when your heart is numb, getting the word "yes" to come back is nearly impossible. There are some lovely "moments" in this film, particularly Russell's conversation with co-worker Faith Domergue over the risks of loving a soldier on active duty during a war. Russell, quite soft here, became brassy and tough in her next films, but here, she's every inch a lady, and one you can root for.
Why then my displeasure? It isn't hatred of the film, and in fact, it's one I know I'll watch in the future, but it's like a cake recipe without flower, unable to rise for that missing ingredient. Cora Witherspoon and Connie Gilchrist have nice bit parts as Russell's farm owning aunts, with the sensational Louise Beavers having a nice bit as their loving cook who inspired Jane as a kid. There's a shocking scene of somebody falling onto a New York City subway track, and other moments make you think "wow". A box office flop, this film seems to have misfired because of much better "coming home" films like "The Best Years of Our Lives". Even nearly an hour longer, that film makes its point very clear while this just lays here, waiting for the pancake to be topped with something substantial.
Why then my displeasure? It isn't hatred of the film, and in fact, it's one I know I'll watch in the future, but it's like a cake recipe without flower, unable to rise for that missing ingredient. Cora Witherspoon and Connie Gilchrist have nice bit parts as Russell's farm owning aunts, with the sensational Louise Beavers having a nice bit as their loving cook who inspired Jane as a kid. There's a shocking scene of somebody falling onto a New York City subway track, and other moments make you think "wow". A box office flop, this film seems to have misfired because of much better "coming home" films like "The Best Years of Our Lives". Even nearly an hour longer, that film makes its point very clear while this just lays here, waiting for the pancake to be topped with something substantial.