In spite of the effort to "open up" what had originally been a play, this drama, like so many other adaptations, remains stagebound and static. Even with imaginative sets, camera work and lighting, the scenes are essentially conversations: two (sometimes three) people talking, each representing a viewpoint in the story's conflict among moralities - scenes that are all but devoid of physical action, unless you count lighting cigarettes as action.
As for the characters themselves, they are largely one-dimensional, and unconvincingly unworldly for big-city people of the late 1930s. I found the Ida Lupino character hardly credible in her inability to resist the lure of small-time thrills promised by a fling with Goff: she does in fact resist him initially, she is gently warned about his likes by her father, with whom she has an excellent relationship, and despite her yearning for something more than what she has, Goff is no different from scores like him that she would have seen come and go over the years.
Lupino and Garfield are cast as "types," resulting in neither having an opportunity to utilize their considerable talents. Eddie Albert, as he so often does, plays an ineffectual nice guy. Aline McMahon is a complaining wife, a role that seems to have no particular function in the story. The honors do indeed go to Thomas Mitchell and John Quaylen, who make the most of characters given an opportunity to weigh things in the balance, change their minds, and act according to their principles. Even so, the "comical" closing scene is out of keeping with the overall mood of the picture.
As for the characters themselves, they are largely one-dimensional, and unconvincingly unworldly for big-city people of the late 1930s. I found the Ida Lupino character hardly credible in her inability to resist the lure of small-time thrills promised by a fling with Goff: she does in fact resist him initially, she is gently warned about his likes by her father, with whom she has an excellent relationship, and despite her yearning for something more than what she has, Goff is no different from scores like him that she would have seen come and go over the years.
Lupino and Garfield are cast as "types," resulting in neither having an opportunity to utilize their considerable talents. Eddie Albert, as he so often does, plays an ineffectual nice guy. Aline McMahon is a complaining wife, a role that seems to have no particular function in the story. The honors do indeed go to Thomas Mitchell and John Quaylen, who make the most of characters given an opportunity to weigh things in the balance, change their minds, and act according to their principles. Even so, the "comical" closing scene is out of keeping with the overall mood of the picture.