From the opening credits, underscored by Max Steiner's propulsive, unrelenting theme, this is a powerful film. Although loosely based on "The Letter," it is really not about sexual hypocrisy, but rather deals with the price of loneliness that World War II exacted on women at the home front. That price would of course also affect the returning soldiers, spouses of those women. At one point a character refers to the adulterous wife's "debt to society"--certainly not the sort of comment that would be likely to turn up in a film today--but the movie also takes pains to present the wife as a basically decent and honest person.Other films of the time that dealt with variations on that theme are "Till the End of Time" and "The Best Years of Our Lives." The discontents of the returning soldier have been depicted for millennia, as attested by the "welcome" that Agamemnon receives on returning home from the Trojan War.
While the narrator at the movie's start accurately says that the story could take place anywhere, post-war Los Angeles is very nicely evoked, with quite a bit of location shooting. Among them: the atrium office building also featured in "DOA"; a hillside cable car, and a seedy hotel located opposite a high, menacing traffic embankment. There is also some nice blocking of the action in the suburban house, the emblem of the American Dream gone awry. (That Zachary Scott's character is a housing developer, when his own household is in disarray, has a paradoxical aspect.)
Fine performances from all the principals, especially Ann Sheridan, who really shines. Eve Arden is also fine as an unexpected ally and, in contrast to her usual comic roles, has some strong dramatic moments.
While the narrator at the movie's start accurately says that the story could take place anywhere, post-war Los Angeles is very nicely evoked, with quite a bit of location shooting. Among them: the atrium office building also featured in "DOA"; a hillside cable car, and a seedy hotel located opposite a high, menacing traffic embankment. There is also some nice blocking of the action in the suburban house, the emblem of the American Dream gone awry. (That Zachary Scott's character is a housing developer, when his own household is in disarray, has a paradoxical aspect.)
Fine performances from all the principals, especially Ann Sheridan, who really shines. Eve Arden is also fine as an unexpected ally and, in contrast to her usual comic roles, has some strong dramatic moments.