Lenore J. Coffee Movies

Lana Turner stars as Sara Scott, an American war correspondent whose whirlwind romance with a young British journalist (Sean Connery) ends in tragedy when his plane crashes while covering an assignment. After recovering from a nervous breakdown, Sara tries to come to terms with her grief by visiting her lover's widow (Glynis Johns). Based on the novel Weep No More by Lenore Coffee, Another Time, Another Place did excellent box-office business thanks to the concurrent real-life scandal involving the death of Turner's gangster boyfriend Johnny Stompanato at the hands of her teenage daughter. ~ Hal Erickson, All Movie Guide

Recently freed from his MGM contract, Van Johnson headed to England to star in a series of pictures, the first of which was The End of the Affair. Adapted by Lenore Coffee from the novel by Graham Greene, the film casts Johnson as Maurice Bendrix, the clandestine lover of married Briton Sarah Miles (Deborah Kerr). When Maurice disappears during the London blitz, Sarah feels responsible; perhaps if she hadn't been cheating on her husband Henry (Peter Cushing), Maurice might never have been placed in harm's way. She gets down on her knees and prays, promising to return to her husband and give up Maurice if her lover's life is spared. The film's title rather gives the game away. The best performance is delivered by John Mills, as an affable private detective hired by Henry Miles to check up on Sarah's whereabouts. ~ Hal Erickson, All Movie Guide

Joan Crawford stars as wealthy San Francisco heiress Myra Hudson, a successful playwright who meets Lester Blaine (Jack Palance) while casting her new play in New York. They meet again on the train ride back, fall in love and marry. Unknown to Myra, Lester is seeing mistress Irene Neves (Gloria Grahame), whom he still loves and has married only for her money. While looking through her study, Irene and Lester learn that Myra has made a will leaving only $10,000 a year to Lester (though if he remarries following her death he receives nothing). Seeing that the will has not yet taken effect, they plot to kill Myra without noticing that Myra's dictating machine is on and recording their conversation. After listening to the conversation and spending a sleepless night, Myra goes to Irene's apartment and steals a gun. Irene then lures Lester to the apartment, intending to kill him. Losing her nerve, she flees the apartment with Lester chasing her. The film has an exciting and surprising climax as all meet unexpectedly during the chase. Joan Crawford gives a fine, if melodramatic performance, and Jack Palance is amazingly effective playing against type as a leading man. Despite a slow start, this is a fine suspense thriller that earned Oscar nominations for Joan Crawford and Jack Palance and a nomination for Charles B. Lang Jr. for his striking black and white photography. ~ Linda Rasmussen, All Movie Guide

"What a dump!" That's the classic line delivered by Bette Davis at the halfway point of Beyond the Forest, her final Warner Bros. effort of the 1940s. Some Davis devotees feel as though this vituperative utterance is the high point of an otherwise turgid melodrama; others consider the line a succinct assessment of the entire film. Based on a best-selling novel by Stuart Engstrand, the film stars Davis as Rosa Moline, a small-town girl with big-city ambitions. Trapped in a dull marriage to just-getting-by lawyer Lewis Moline (Joseph Cotten), Rosa plots and plans to sexually entrap millionaire industrialist Neil Latimer (David Brian). That Rosa's scheme is doomed from the start is telegraphed at every juncture by Max Steiner's sledgehammer musical score (few will ever want to hear the song "Chicago" again after this). Hampered by the censorship standards of the era, the film is prevented from being as frank as the novel; in one scene, for example, Rosa is obviously visiting an abortionist, but the sign on the door reads "Psychiatrist." A standard entry in most film historians' "Worst Movies" lists (even Davis herself hated it), Beyond the Forest is rather entertaining in its own schlocky fashion. ~ Hal Erickson, All Movie Guide

Elizabeth MacDonald (Claudette Colbert) is a newly married corporate librarian in 1918 Baltimore working for a chemical company owned by the Hamilton family and managed by Larry Hamilton (George Brent). Just as she is celebrating the armistice and anticipating the return of her husband John (Orson Welles), she learns he was killed in action, just days before the cease fire. Pregnant with their child and alone in the world, she is taken in by Larry Hamilton, who has loved her from afar and is driven by sympathy for her plight. She has her baby, a boy named Drew, and she and Larry marry, raising the child as his own and never telling the boy of his real father. Meanwhile, in an Austrian hospital, a horribly wounded and disfigured American officer (Welles) without any identification insists to the doctor treating him (John Wengraf) that he be allowed to die. The doctor saves his life, but the shock of his injuries and the strain of his recovery causes him to lose his memory, and he ends up adopting a new identity. Cut to 1939, and the outbreak of the Second World War in Europe. Drew (Richard Long) is about to graduate from college and wants to join his fraternity brothers, who are planning on going to Canada, signing up with the Royal Canadian Air Force, and heading to England to fly against the Germans. Drew is not yet 21, however, and needs the permission of his parents, but Elizabeth is appalled by the notion of losing Drew to war the same way that she lost John.

Into their family comes a visitor, Erich Kessler (Welles), a crippled, ailing Austrian refugee and chemical expert hired by Hamilton's company, who arrives in Baltimore with his young daughter Margaret (Natalie Wood). Kessler starts to recognize places in the city, including the home where Elizabeth lived, and when they meet, despite her discomfort at having an Austrian army veteran in the house, she does her best to welcome him. Elizabeth also starts to notice little aspects of Kessler that remind her vaguely of John. But much as she is haunted by these strange similarities, she is appalled when Kessler seems to encourage Drew to pursue his goal of fighting the Nazis. Even Kessler's presence in their home, despite his genial and deferential manner, is a vexation to Elizabeth, bringing the horror of the war and what the Nazis represent into their midst and making Drew even more fervent in his desire to join up and fight. When Margaret displays terrible fears and nightmares, it comes out that she isn't really Kessler's child at all, but the daughter of the doctor who saved his life (he and his wife had been executed by the Nazis).

Larry, meanwhile, must watch from the sidelines, not aware of Kessler's real identity and unable to resolve the conflict between his admiration for Drew's intentions and his love for his wife. When Drew decides to ignore his parents' wishes and go to Canada and enlist without their permission, Kessler follows and stops him (despite his own weakened condition), and brings the young man home. A confrontation ensues upon their return, and Kessler explains to her that, whomever she thinks he might have been, the past has passed. Elizabeth finds the strength and courage to face the future, and the coming of the new war and what it may bring. ~ Bruce Eder, All Movie Guide

Robert Z. Leonard, who must have taken room and board at MGM, was the directorial hand behind this slight domestic drama. Lana Turner is the bride, John Hodiak the groom. James Craig is the odd man out, who pursues Turner when Hodiak is off fighting the war. Bored by domesticity, Turner welcomes Craig's attentions, but impending motherhood straightens out her priorities. Nearly two hours of celluloid are expended on a story that any other studio would have zipped out in seven reels. Marriage Is a Private Affair was based on a slightly steamier novel by Judith Kelly. ~ Hal Erickson, All Movie Guide

In this grim melodrama, Barbara Stanwyck plays the eldest of three wealthy sisters who become orphans when their father dies in France. Threatened with the danger of losing the opulent family home, Big Sister makes a grand sacrifice and secretly marries a real estate developer so she can inherit her aunt's fortune. A few years later, she learns that he is after the family estate and wants to tear it down so she leaves him and tries to stop him. More time passes and the husband ends up taking her to court when he learns that she has borne him a son without telling him. The part of "Gig Young" was played by actor Byron Barr who later assumed the name before he became famous. ~ Sandra Brennan, All Movie Guide

Adapted from the novel by Howard Spring, My Son My Son stars Brian Aherne as a self-made success determined to give his son the lavish upbringing he himself was denied. Not surprisingly, the son (Louis Hayward) grows up spoiled rotten, causing grief and pain to everyone who loves him. The limit comes when the boy tries to steal his father's lady friend (Madeline Carroll). When World War I breaks out, the son displays the noble streak that he has hidden so long by dying a hero's death. Its uplifting ending at odds with the darker denouement of the original novel, My Son My Son is high-class soap opera made workable by the multilevelled performances of Brian Aherne and Louis Hayward. ~ Hal Erickson, All Movie Guide

Spunky Joan Blondell is practically the whole show in the diverting comedy Good Girls Go to Paris. Blondell is cast as ambitious college-campus waitress Jenny Swanson, who yearns to see the sights in Gay Paree. She gets her chance by latching onto British exchange professor Ronald Brooke (Melvyn Douglas), who is en route to the City of Light. Once she sets foot on French soil, Jenny proves the veracity of the film's title by straightening out the wayward family of dyspeptic millionaire Olaf Brand (Walter Connolly)-though for a while it looks as though she's a "bad girl", merely out to take the Brands for every penny they've got. In later years, Joan Blondell ruefully recalled that the film's original title was Good Girls Go to Paris Too, but the Hays Office nixed that harmlessly suggestive monicker. ~ Hal Erickson, All Movie Guide

Based on another of Lloyd C. Douglas' "better living through faith" short stories, White Banners stars Claude Rains as a chemistry professor who invents an icebox that requires no ice. The invention is stolen, throwing Rains and his faithful young assistant Jackie Cooper into a deep depression. Rains' housekeeper Fay Bainter buoys the inventor's spirits with her happy demeanor, wise homilies and good cooking. Through her influence, Rains and Cooper return to the lab and create an even more advanced refrigeration device. And just what is Bainter's stake in all this? Why, she's Cooper's long-lost mother...but don't you dare tell him. Though Fay Bainter was nominated for an Oscar for her performance in White Banners, the film itself is so forgettable that it doesn't even rate a mention in most mass-market movie ratings books. ~ Hal Erickson, All Movie Guide

Critics in 1935 recognized immediately that Age of Indiscretion drew its inspiration from the well-publicized Gloria Vanderbilt custody battle. Paul Lukas plays publisher Robert Lenhart, a man of conservative tastes who is unfortunately saddled with a footloose socialite wife named Eve (Helen Vinson). When Lenhart begs his wife to curb her excesses, she retaliates by entering into an illicit affair with Felix Shaw (Ralph Forbes), deserting her young son Bill (David Jack Holt). Providing moral support for Lenhart and his son during this crisis is faithful secretary Maxine Bennett (Madge Evans). Upon paying a visit to Lenhart's home, Felix Shaw's wealthy and powerful mother Emma (May Robson) finds Maxine in the living room. Assuming the worst, Emma forces Eve to sue for custody of her child, then distorts the evidence in court to paint Lenhart as a philandering monster. The outcome of the case hinges on the child's testimony, and it is this which forces Emma to realize how wrong she's been. Too bad that the litigants in the Vanderbilt case weren't as polite and reasonable as the characters in Age of Indiscretion. ~ Hal Erickson, All Movie Guide

Cecil B. DeMille's least characteristic sound feature, Four Frightened People is a character study about a quartet of castaways whose fates are permanently altered by spectacular circumstances. Four coastal steamer passengers jump ship when a deadly bubonic plague breaks out. They steal a lifeboat and land on a remote Malayan island. The frightened people are a wealthy, married rubber chemist (Herbert Marshall), a mousy schoolteacher (Claudette Colbert, with requisite eyeglasses), a tough news correspondent (William Gargan) and the supercilious wife of a British official (Mary Boland). As the four adapt themselves to the rigors of jungle life, the lady teacher sheds her glasses and becomes more attractive by the day--and is subsequently fought over by the two men in the party. Their native guide (Leo Carrillo) dead, the castaways are captured by hostile Islanders. The newsman dies, the chemist and the teacher are thrust together in peril, and the official's wife becomes the unofficial queen of the island thanks to her diplomatic skills. Upon rescue, the married chemist nobly parts with the schoolteacher, but eventually escapes his loveless marriage and is reunited with his new love--even as her young pupils look on in adolescent fascination. As entertaining as any of DeMille's "big" pictures, Four Frightened People did disappointing business, prompting DeMille to return to historical spectacles. ~ Hal Erickson, All Movie Guide