The Kleenex inspired finale will doubtless appeal to romantics seeking a happy ending, but I always have trouble putting films like this under the microscope. There's so much suspension of disbelief necessary to pull this one off that it becomes a distraction. It begins with Paula's (Greer Garson) virtual pick-up of a World War I veteran (Ronald Colman) who can't even remember his name. This is not my idea of rational behavior, and for Paula to persevere in this romance and virtually smuggle her 'Smithy' out of Melbridge County doesn't seem the best way to embark on a new life together. But not leaving well enough alone, the story then goes on to have Colman's character restore his pre-War memories and reclaim his former past, but in the process forget about his marriage to Paula. When she turns up as the secretary to the new Industrial Prince of England, it was almost too much to bear for this reality based viewer. I won't even go into how the newly married couple managed to set up a household in the English countryside with no visible means of support. This was, you'll remember, before he set out for London for that job interview with The Mercury, and Paula had long since left her position with the dance hall troupe.
For the sake of a better review, I'd have to sweep virtually all of this impossible stuff under the rug, along with fifteen year old Kitty's (Susan Peters) starry eyed obsession with a man easily three times her own age, only to throw him over without a second thought when she 'suddenly' came to her senses. Certainly the characters deserved better than to be held hostage to a desire to find normalcy once again. Though the film held firm those traits of enduring love and loyalty, it just wasn't convincing enough for me. For their part, Colman and Garson hold up their end with portrayals that work magic if you're not particularly concerned with realism. I wish I could be more positive, but this one just didn't work for me.
For the sake of a better review, I'd have to sweep virtually all of this impossible stuff under the rug, along with fifteen year old Kitty's (Susan Peters) starry eyed obsession with a man easily three times her own age, only to throw him over without a second thought when she 'suddenly' came to her senses. Certainly the characters deserved better than to be held hostage to a desire to find normalcy once again. Though the film held firm those traits of enduring love and loyalty, it just wasn't convincing enough for me. For their part, Colman and Garson hold up their end with portrayals that work magic if you're not particularly concerned with realism. I wish I could be more positive, but this one just didn't work for me.