Amor que espera

Valerie Hobson ("Diana") is widowed during WWII - her late husband, the local Member of Parliament. After an extended period of mourning that shows little sign of ending, her nanny Flora Robson sets a few wheels in motion that results in her former charge being elected to succeed her husband in Parliament. Initially nervous, she ultimately rises to the task, and manages to fall in love again - this time, thanks to a timely air-raid, with "Richard" (James McKenchnie). Then an altogether different sort of bomb drops - and she must rewind her life some four years and deal with some truly unforeseen circumstances. Hobson is good in this film, as is Robson who delivers quite a few poignant one-liners and even a short speech towards the end on the responsibilities and opportunities of those left to win the peace after the war had been won. Michael Redgrave also features, as "Col. Wentworth", a troubled man with a mission that involved all sorts of sacrifices for King and Country. "Diana" develops her newly found role into one of determination and humanity - she takes up the cudgels for a great many women who were left at home, widowed; their children relocated, having to make ends meet as best they can in the face of the horror of war. It's got something more real about it, this film and as their postman always moans: "things will never be the same again" - he might well be right.

It was a nice surprise that women during WW2 was a subject in the first half of the movie. This period in time is when women learned they could work, take care of their family and do what they needed to do. This film was pro-women which is surprising in this 1946 picture. I thought Michael Redgrave did a fine job in this role. Yes he was stiff but I think he did a fine job in betraying how men reacted to returning home to a different world and women. I think this film was realistic in how WW2 changed lives in more than one way. I still believe that the movie 'The Best Years of our Lives' was the best after-WW2 movie and I'll give 'The Years Between' second best.

Embellished and elegant take on what happens to war widows in the post WWII era.

A war vet returns after being presumed dead to a world changed drastically on his domestic front.

The story reflects the mores of the time and the pat ending gives it away. But the acting is first rate and youget to see post war Britain for a bit.

Compton Bennett deserves a high perched niche in British cinema for his clearly above average direction of films such as THE YEARS BETWEEN, SO LITTLE TIME, THE DESPERATE MOMENT.

A theatrical play by Daphne du Maurier provides the basis for YEARS BETWEEN. As tends to be the note with du Maurier, female and male characters interact rather realistically, in this instance a couple (Hobson and Redgrave) separated early on in WWII when the hubby goes to war and within a week is declared deceased by the Home Office. Of course, he is alive and returns to reclaim his wife and also his position as MP... which she has fllled in the meantime. What emerges is a way ahead of its time battle of the sexes regarding jobs and how women are as good, if not better than, men at what they do. The point is further driven home by a rather secretive Redgrave who fails to tell his beloved wife why he did not try to apprise her of his live status, even after he returns home.

Meanwhile, Hobson develops the hots for a close friend of Redgrave's - Richard, well played by James McKechnie - and even decides to marry him because she begins to find Redgrave's obtuse selfishness more than a trifle intolerable.

Well, she finds out that he had no option but hide that intelligence from her (though he had no reason to do so after his return) and her wifely loyalty eventually wins the day.

Competent cinematography by Reginald Wyer, largely credible though convenient, too, script, with acting by Redgrave, Hobson, Robson and McKechnie the cherry on a cake of a flick.

Definitely worth watching. 8/10.

Subtle drama about war and marriage. Valerie Hobson plays uppercrust wife who gets a telegram during WW II stating her husband (Michael Redgrave) has been killed. To get her out of her deep depression, friends persuade her to take her husband's seat in Parliament. She is surprised to learn she liked it. The years go by.

She's about to married a local dullard when she gets another telegram. Redgrave is alive after all, and has been a prisoner of war for all these years. When he returns, things are very unsettling. He expects everything to be the way it was, but much has changed, especially the wife.

He expects her to give up her seat, but she refuses. As the postman (Edward Rigby) keeps telling everyone, nothing will be the same after the war. He's right. Hobson finds she's indifferent to Redgrave after all these years. He keeps complaining about all the changes.

The kicker is what he really did during the war, what he couldn't tell anyone, even his wife.

Redgrave and Hobson are terrific in their roles, even if they are written rather narrowly. Flora Robson is also solid as the "nanny" who seems to have more common sense than either the husband or the wife. Others include James McKechnie as the dullard, Felix Aylmer as a politician, Dulcie Gray as Judy, Esma Cannon as the cook, and Wylie Watson as Venning.

Worth a look.