Douglas Sirk remake of John M. Stahl's When Tomorrow Comes, which I haven't seen. Innocent young American girl goes to Munich, falls in love with famous conductor who turns out to be married. Will she stay with him or go home with the nice American doctor from her hometown? In 1950s Hollywood films, apparently almost every woman wants to go to Europe and have an affair with Rossano Brazzi.
This is not the movie to convert people who don't like June Allyson (High Barbaree is the one recommended for that). The script seems to suggest that her character is a sweet young thing, which June in 1957 was not. Her hairstyle is, as usual, not at all becoming. She doesn't have much chemistry with Brazzi, either. The script is ponderously written, especially for poor Keith Andes as the doctor, who gets lines like "See, I don't always have my nose in the Journal of Pathology. I can speak French."
Marianne Koch (billed as Marianne Cook) as the conductor's wife and Francoise Rosay as her aunt take the acting honors here. Douglas Sirk handles the Cinemascope ratio well, as you might expect, and the camera setups are usually chosen well. The cinematography of William Daniels is absolutely gorgeous, not just the scenes in Munich, Salzburg, and the surrounding countryside, but each interior shot is a marvel of balanced and contrasting colors. The set design is equally superb. If you respond strongly to these visual elements, Interlude is very much worth your while. Just don't expect a film as satisfying as Summertime.
This is not the movie to convert people who don't like June Allyson (High Barbaree is the one recommended for that). The script seems to suggest that her character is a sweet young thing, which June in 1957 was not. Her hairstyle is, as usual, not at all becoming. She doesn't have much chemistry with Brazzi, either. The script is ponderously written, especially for poor Keith Andes as the doctor, who gets lines like "See, I don't always have my nose in the Journal of Pathology. I can speak French."
Marianne Koch (billed as Marianne Cook) as the conductor's wife and Francoise Rosay as her aunt take the acting honors here. Douglas Sirk handles the Cinemascope ratio well, as you might expect, and the camera setups are usually chosen well. The cinematography of William Daniels is absolutely gorgeous, not just the scenes in Munich, Salzburg, and the surrounding countryside, but each interior shot is a marvel of balanced and contrasting colors. The set design is equally superb. If you respond strongly to these visual elements, Interlude is very much worth your while. Just don't expect a film as satisfying as Summertime.