![]() The biggest issue, however, is in the scenes when the couple is separated in the second half of the film. I truly wish the last line had been changed ("If you can paint, I can walk."), and the film is also a little heavy-handed in its Catholic references. Who hasn't done something foolish in their love life at one point or another? Yes, it's contrived, but her sacrifice and his regret for saying things without knowing the whole truth strike a chord. And of course, the final scene, when he finally does meet her alone, still not knowing her condition, and pretending he was the one who didn't show up that night. Does he fly into a rage or make an angry remark? No, he simply helps her with something she's dropped, though his eyes speak volumes. That moment when they meet after the ballet, in the company of others. Grant's expression as he waits at the top of the Empire State Building, with the elevator operator noticing him again and again. The bigger moments are pretty special too. Kerr saying "while we miss each other" as she pushes Grant out of her room, and then him poking his head back in to say "oh that was very sweet", lightly kissing her hand, and then "what you just said." What a great little bit of acting that was. As Nesbitt plays piano, Grant looking intently at Kerr singing (actually lip-synching Marni Nixon). Kerr saying "well that's the only page" with steely eyes, after Grant tells her that her life story is "only one page." The entire scene with Nesbitt, with her sweet old face and knowing eyes. Grant getting flustered early on when rebuffed. There are many very nice little moments along the way to the ones people remember most. At the same time, everyone knows that Grant's character is a womanizer, he clearly tries to seduce Kerr in the beginning, and there is a sexual subtext to it all. The two don't "do anything" despite their feelings, and director Leo McCarey even films one of their few kisses by showing their legs only on one of the ship's staircases. On the other hand, there is a lovely element of restraint in the pair's passion for one another. The film has a couple of artificial plot devices and is unrestrained in going for the emotional jugular at the end, which will have cynics howling. Their time on the ship and then with his grandmother (Cathleen Nesbitt) in her hilltop home on the French Riviera is magical. Cary Grant and Deborah Kerr are absolutely charming, with their natural sophistication and class combined with little moments of humor, sadness, and dialog that is very natural. The story is pretty well known, having been re-made several times (and heavily referenced in 'Sleepless in Seattle'), so I won't summarize it. I'm a sucker for romantic films (full disclosure), and this one is so beautiful.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |