Lo que no fue

**SPOILERS** Meeting quite by accident at the Milford train station British housewife Laura Jesson, Celi Johnson, got a speck of grit stuck in her eye that fellow passenger Dr. Alec Harvey,Trevor Howard, quickly came to her aid and washed out. Alec then slowly starts to get these strong feeling about the sweet and somewhat shy, as well as married, middle-age woman that in no time at all turns into an uncontrollable, by both Laura as well as Alec, love affair that in the end if not checked my well break up both of their marriage's.

Even though both Alec and Laura are married, not to each other, we only get to see Laura's husband and family in the movie which is shown in a long flashback, that takes up almost the entire film, from only Laura's point of view. After that innocent meeting at the train station the two always end up meeting on a Thursday when Laura travels to Milford to buy groceries and Alec has the afternoon off from work. Alec a doctor at the Milford hospital has a wife and family who we never get to see but sense are very much in love with him. Alec's life starts to take a sudden turn away from them as he starts to slowly fall in love with Laura.

You never once get the impression that Alec and Laura are willing to leave their wife and husband so that they can get married to each other. The two star-struck lovers only want to keep their affair secret and live double-lives but the guilt of the affair consumes Laura. For the first time in her marriage Laura lied to her husband Fred, Cyril Raymond, about her being in love with another man. Even though she admitted it to Fred in an almost whimsical way, that Fred took as a joke, Laura also realized that no matter how much she was in love with Alec, and he with her, in the end it would only lead to nothing but heartbreak for her as well as everyone, Alec together with her and his families, involved.

It was later when Alec got a job at his brothers new hospital in Johannesburg South Africa that both he and Laura could finally break up their affair by the two never having to as much as cross their paths again. Even saying goodbye to each other for the last time was never to happen when the two were interrupted at the train station by Laura's chatter-house friend Dolly Mesitter, Everly Gregg. Dolly's non-stop talking prevented the two from having the last few minutes together with each other but at the same time also prevented Laura from throwing herself on the tracks, by momentarily keeping her mind off the fact that Alec was about to leave her, as Alec's train left the station.

Extremely moving adult drama about two persons who find out only too late in life that they were meant for each other but missed the boat, or train, when it came into the station and have to do with what they have: try to forget they ever met no matter how much sorrow and grief it would bring them. Both Celia Johnson and Trevor Howard were touchingly effective as the star-struck lovers Laura and Alec who knew that their affair was doomed from the start and just had to accept what fate had handed them: try to forget that brief encounter they had one fateful evening in the railroad station outside of Milford.

I didn't think I'd write this comment till I saw the 2 previous ones criticizing 'BE'. I don't know how much this movie would appeal to camp-followers of an in-your-face go-getting culture. Some of the frequent adjectives describing this movie is 'civilised', 'restrained', 'noble'. To those who call this movie dated, I'll say that these are indeed qualities which are hardly followed & upheld today, especially in movies. However movies do reflect contemporary social mores, & maybe the story of two illicit lovers sacrificing their love for something as obvious as home & family does not find to many buyers today.

For those who think a movie can convey some of the most intimate emotions, conflicts & visions known to us, those who believe 2 art forms (Rachmaninoff's 2nd, Lean's 4th) can coexist brilliantly, & finally for those who believed David Lean got body-snatched in mid-career to make over-blown nonsense like 'Dr. Zhivago' this is one of the best ways to spend 86 minutes!

There's not a lot to say. Like many classics this film is simply constructed with all the elements in balance so that none stands out. Everything in it contributes something essential; the lighting, the unromantic railway station sets, the minor characters and of course the music, the ultra-romantic Rachmaninov Piano Concerto no 2. The emotional rollercoaster of the illicit affair has seldom been better portrayed. Perhaps it is a little understated for transatlantic tastes but no-one viewing this movie would not appreciate that the English can be as passionate as the rest of us.

Celia Johnson as Laura and Trevor Howard as Alec are perfect together. It being 1945, they do not get to bed – that would have ruined the audience's sympathy for them in those rather more censorious times. It's all in their minds but their faces give the game away – to each other and to the bystanders. Nothing happens to drag anyone near the awful divorce courts, but you are left wondering whether Celia will ever feel quite the same about her dull, comfortable, patronising and boring husband. As for Alec, he professes he will love her forever but then, he's a man.

Noel Coward produced this film from a short play of his from 1935 (the war and post-war shortages are absent), and his dulcet tones may be recognised in the railway station announcements. David Lean directed, and it is a remarkable collaboration. The action is opened out a little – a row on the lake, a drive in the country - but the scenes from the play set entirely in the railway refreshment rooms still remain the centre of the story. The parallel relationship between Albert the station guard (Stanley Holloway), and Myrtle the refreshment room attendant (Joyce Carey), is an interesting counterpoint to the angst-ridden middle class would-be adulterers. Surely Noel old boy you weren't suggesting that the working class handles this sort of thing better? We see things largely from Laura's point of view and perhaps Alec didn't feel quite so guilty, but their consciences are going to make them pay. A gem of a movie.

I found this David Lean version of BRIEF ENCOUNTER to be a simply enchanting and entrancing film. Part of the enjoyment was the style of writing and acting that is purposely theatrical in order for the 1940s British subject matter to be handled in the fairly explicit way that it was. For those who 'don't get it' or find it boring well what can those who do 'get it' say? How sad perhaps that something so lovely and so humane and so complex in its dialogue and beautifully formal in its British tone cannot be enjoyed by a few who demand ..DEMAND.. it suit them in 2009. Hilarious! Maybe the multiplex mind thought BRIEF ENCOUNTER was about colliding underpants, which just might be right for them. CLASH OF THE TIGHT'UNS anyone? Maybe a remake with Adam Sandler and Drew Barrymore called HERE/NOW might be the right update. This gloriously stuffy and furtive Noel Coward play is transformed in this film to be the black and white smoky British damp equivalent of HUMORESQUE or NOW VOYAGER.. and if you love those films (so easy!) you will love this.

It is not the right word. but it defines a precious last impression about this little gem who seems perfect. for music, details. and, sure, for a great couple. the love story between Laura Jesson and Alec Harvey is so ordinary that it becomes special. for suggestion. and for the impecable performances. for atmosphere. and for the feelings of viewer about an imposible love affair. for delicacy and sensitivity and humor. and for the meet between David Lean and Noel Coward. sure, it is a familiar story between ordinary people. but the genius of this film is represented by chemistry between Celia Johnson and Trevor Howard and for the art to give a perfect story, mixing nostalgia, a meeting in station the portrait of Myrtle Bagot by Joyce Carey and the sensation to be a story about yourself. so, a magnificent gem trminding a sort of romanticism who, today, remains a so useful refuge.