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All Brides are Beautiful. From This Day Forward is directed by John Berry and adapted to screenplay by Garson Kanin and Hugo Butler from the novel All Brides are Beautiful written by Thomas Bell. It stars Joan Fontaine, Mark Stevens, Rosemary DeCamp, Harry Morgan, Wally Brown, Arline Judge and Renny McEvoy. Music is by Leigh Harline and cinematography by George Barnes. Rom-Dram that finds Stevens and Fontaine as a young couple struggling with the perils and optimism of post-war life. Story unfolds in flashback as Stevens reminisces about how he met Fontaine and their subsequent courtship that was fraught with uncertainty about what the future had in store. The Depression bites hard and Stevens finds himself a kept man as Fontaine’s wages has to cover for the both of them. It’s a pretty simple fable, but one of romantic hope in times of hardship, Stevens and Fontaine are good together, if a little miscast considering the themes at work in the screenplay. Popular with audiences back in 1946, its escapism factor would have been a huge pull, it is however now something of an antiquated sitting, a laborious picture that sort of just exists as a time-capsule piece. Approach with caution. 5/10
Try as she might, Joan Fontaine just cannot make a silk purse from the sow's ear on show here from John Berry. She portrays "Susan", a young assistant in a bookshop who has married "Bill" (Mark Stevens). Flashback fills in the gaps as this young couple meet and fall in love before WWII intervenes and when he returns, the pair must adjust to post war life. The film effectively illustrates the difficulties faced by returning soldiers, and of their spouses and families, as they all try to adapt to their new circumstances. For "Bill", that involves dealing with the ennui (I suppose it might be considered a form of PTSD nowadays) that proves particularly hard to accommodate. The challenges also entail getting a new job and finding the money to keep his family going. For "Susan" - well, the challenges for her are somewhat different but what is enlivening about the whole thing is the pair's enduring affection for each other. They struggle, with each other and their tough, unforgiving, environment and that struggle turns both of them into something that would be, frankly, rather difficult to love. A solid template for a story, but sadly for me there was way too much dialogue. It's an adaptation of Thomas Bell's book, but it is quite possible that this feature has more words! Fontaine glows, but underperforms as an actress - she lacks character in this portrayal and at times the whole thing just comes across as a bit to earnest. The production is proficient, and the score complimentary as their relationship ebb and flows. It's an interesting observation of how life might have been, but I'd rather have done more watching and less listening.
On the eve of her sister’s wedding, Karina brings her “best friend” home to meet the family. When the groom-to-be joins them, she is reminded of her family’s expectations and her queer anxieties begin to unravel in a film that blurs the line between fiction and reality.
A traveling art saleswoman tries to shake off a flaky motel manager who falls for her and won't leave her alone.
After five (or six) years of vanilla-wedded bliss, ordinary suburbanites John and Jane Smith are stuck in a huge rut. Unbeknownst to each other, they are both coolly lethal, highly-paid assassins working for rival organisations. When they discover they're each other's next target, their secret lives collide in a spicy, explosive mix of wicked comedy, pent-up passion, nonstop action and high-tech weaponry.
Returning home from a shopping trip to a nearby town, bored suburban housewife Laura Jesson is thrown by happenstance into an acquaintance with virtuous doctor Alec Harvey. Their casual friendship soon develops during their weekly visits into something more emotionally fulfilling than either expected, and they must wrestle with the potential havoc their deepening relationship would have on their lives and the lives of those they love.
An American journalist arrives in Berlin just after the end of World War Two. He becomes involved in a murder mystery surrounding a dead GI who washes up at a lakeside mansion during the Potsdam negotiations between the Allied powers. Soon his investigation connects with his search for his married pre-war German lover.
The Roses, Barbara and Oliver, live happily as a married couple. Then she starts to wonder what life would be like without Oliver, and likes what she sees. Both want to stay in the house, and so they begin a campaign to force each other to leave. In the middle of the fighting is D'Amato, the divorce lawyer. He gets to see how far both will go to get rid of the other, and boy do they go far.
Twenty-year-old Yoshiko (Setsuko Hara) and her younger sister Asako (Yōko Yaguchi) struggle to accept changes in their home during the preparations of their widowed father's wedding to his chosen bride, Maki Tsuneko (Sadako Sawamura), who's anxious about her conduct as the bride.
Bertie and Marian Lenox are children of a wealthy family, and their mother intends that they marry "within their class". They, however, have different plans-Bertie is in love with chorus girl Sally O'Neil and Marian loves Henry Morgan, the family chauffeur. The family finds out about the impending marriages and determines to stop them. Complications ensue.
After returning from a concentration camp, Susanne finds an ex-soldier living in her apartment. Together the two try to move past their experiences during WWII.
