Thanks to the ABC Australia I was able to see this rare classic. Looking at the pedigree of it's filmmakers I understand why it looks 'just the way it does'. Firstly, it comes from the independent Enterprise Production company, started by John Garfield and Producer David L. Loew in 1946. This studio's major claim to fame has to be "Force of Evil" that was shamefully neglected in original release and now regarded as a classic!
"The Other Love" gives Barbara Stanwick one of her best roles as the showy concert pianist suffering from a serious lung complaint. The film takes its stylish look from such an unusual mix of talent. First is the story by Erich 'Maria' (his mothers name) Remeque... who also wrote another of Enterprise's great underrated classic failures "Arch of Triumph" in '48. The screen play treatment is Co-penned by Award winner Ladislas Fodor known for "Seven Sinners" in '40 ~ The Great Sinner" in '49 ~ "Tom Thumb" '58 ~ "North to Alaska" '60. He worked with fellow writer: Harry Brown A.K.F: "A Place in the Sun" ~ "Wake of the Red Witch", etc) The Producer: David Lewis was also responsible for "Tomorrow is Forever" and the '55 vers of "End of the Affair".
The films Director was an odd choice, Andre De Toth, himself having been a Writer, Actor, Editor and Law student, with a mixed bag of titles to his credit. These ranged from Randolph Scott Westerns, War films" ("Two Headed Spy" '58) to the social drama "Monkey on my Back" '59.
Two other respected craftsmen assist him with great atmospheric touches, namely, veteran Cinematographer: Victor Milner (with numerous famous films to his name) Art Director: Nathan Juran, Award winner for "How Green was my Valley" ~ "The Razors Edge"'46 ~ as well as Enterprise's other Garfield classic "Body and Soul" '47. Juran was also a multi talented film maker who went on to Direct several of the films of Ray Harryhausen: "7th Voyage of Sinbad" and "20 Million Miles to Earth" '57 etc. With Music by none other than Miklos Rozsa the effect is quite impressive for the patient viewer.
Unfortunately this era was heavily financed by cigarette companies, who made sure all stars were seen constantly smoking. Yes! even with Miss Stanwick in a Sanitarium suffering Consumption, the Doctor allows her to puff her life away. Edith Head makes sure Barbara looks striking in glossy designs strait off the catwalks. The unusual pre-credit opening scene introduces Stanwick performing a concert piece at the Piano, setting the scene for the gloss. This film is sometimes maligned for it's gloss and yet in the late fifties Ross Hunter and Douglas Sirk would make a string of 'over glossy' sentimental soap operas that for me, don't hold a candle to this work (sorry fans)
David Niven was never my ideal leading man (even though I do have a couple of favorites) Richard Conti is convincing as the Track Racer who finds Stanwick irresistible (dare I say few wouldn't) The most dramatic male scene is provided by Glibert Rowland as the professional gambler who takes unfair advantage of the stricken pianist to exploit her wealth, his aggressive actions are superbly shot in the dark doorway of a dingy back street. The end has obviously been tacked on to add an uplifting finale, but even so, hints that her 'end' may also be near.
It's not a film for action fans --and has flaws inherited from the era-- but for lovers of stylized film making (in all departments) should prove a rewarding experience.
"The Other Love" gives Barbara Stanwick one of her best roles as the showy concert pianist suffering from a serious lung complaint. The film takes its stylish look from such an unusual mix of talent. First is the story by Erich 'Maria' (his mothers name) Remeque... who also wrote another of Enterprise's great underrated classic failures "Arch of Triumph" in '48. The screen play treatment is Co-penned by Award winner Ladislas Fodor known for "Seven Sinners" in '40 ~ The Great Sinner" in '49 ~ "Tom Thumb" '58 ~ "North to Alaska" '60. He worked with fellow writer: Harry Brown A.K.F: "A Place in the Sun" ~ "Wake of the Red Witch", etc) The Producer: David Lewis was also responsible for "Tomorrow is Forever" and the '55 vers of "End of the Affair".
The films Director was an odd choice, Andre De Toth, himself having been a Writer, Actor, Editor and Law student, with a mixed bag of titles to his credit. These ranged from Randolph Scott Westerns, War films" ("Two Headed Spy" '58) to the social drama "Monkey on my Back" '59.
Two other respected craftsmen assist him with great atmospheric touches, namely, veteran Cinematographer: Victor Milner (with numerous famous films to his name) Art Director: Nathan Juran, Award winner for "How Green was my Valley" ~ "The Razors Edge"'46 ~ as well as Enterprise's other Garfield classic "Body and Soul" '47. Juran was also a multi talented film maker who went on to Direct several of the films of Ray Harryhausen: "7th Voyage of Sinbad" and "20 Million Miles to Earth" '57 etc. With Music by none other than Miklos Rozsa the effect is quite impressive for the patient viewer.
Unfortunately this era was heavily financed by cigarette companies, who made sure all stars were seen constantly smoking. Yes! even with Miss Stanwick in a Sanitarium suffering Consumption, the Doctor allows her to puff her life away. Edith Head makes sure Barbara looks striking in glossy designs strait off the catwalks. The unusual pre-credit opening scene introduces Stanwick performing a concert piece at the Piano, setting the scene for the gloss. This film is sometimes maligned for it's gloss and yet in the late fifties Ross Hunter and Douglas Sirk would make a string of 'over glossy' sentimental soap operas that for me, don't hold a candle to this work (sorry fans)
David Niven was never my ideal leading man (even though I do have a couple of favorites) Richard Conti is convincing as the Track Racer who finds Stanwick irresistible (dare I say few wouldn't) The most dramatic male scene is provided by Glibert Rowland as the professional gambler who takes unfair advantage of the stricken pianist to exploit her wealth, his aggressive actions are superbly shot in the dark doorway of a dingy back street. The end has obviously been tacked on to add an uplifting finale, but even so, hints that her 'end' may also be near.
It's not a film for action fans --and has flaws inherited from the era-- but for lovers of stylized film making (in all departments) should prove a rewarding experience.