Overlooking the poor acting in everyone but Byington, the silly wardrobe and the slow plot, the screen writing adapted from the novel hits the nail on the head, coming to its climactic precision in the conversation between Garson and Crawford near the end. The writing in that scene from 1941, though I don't read romance novels, I would bet outshines any similar effort in any romance novel since. It's intricate, well-woven, and so comprehensible it resonates.
The author of the novel, I learned here at IMDb, has many other works. That doesn't surprise me.
There were snatches where both Garson and Crawford were good, but they were just moments. Taylor and Marshall left a lot to be desired, but Byington was adorable as usual, as the flibbertigibbet. Even when she overdoes it, you know better is coming fast.
The author of the novel, I learned here at IMDb, has many other works. That doesn't surprise me.
There were snatches where both Garson and Crawford were good, but they were just moments. Taylor and Marshall left a lot to be desired, but Byington was adorable as usual, as the flibbertigibbet. Even when she overdoes it, you know better is coming fast.