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This film immediately catches the eye, with the atmospheric aerial views of a very pretty Hong Hong. Filmed in those rich colours of 1950 films which modern blockbusters never seem to capture. Probably a sign of those times, because this is not a high powered, seen it all before film, full of havoc and violence. The havoc and violence are there though, in the backdrop, with thousands of refugees trying to get out of China This is a very moving and compelling story, full of hope and love in a tragic time, in recent history. The story of two people from different cultures falling in love. And the build up to them trying to overcome this is at the heart of this very fine and moving film.

I just watched this film for the first time as an adult. I still have tears in my eyes. I wish they made movies like this now, without all the crass "sex stuff", that seems to be required all too often. Obviously, Jennifer Jones and William Holden (perfect casting) have great passion, but they have true to the mark tenderness. My favorite line is "The greatest strength is gentleness", and William Holden portrays an intelligent, gentleman. He and Jones looked fantastic in their swimsuits, and when she asked him to bring her a cigarrette behind the rocks, I thought for sure they were going to have a torrid make out scene. (Or at least torrid by 1955 standards.) But no, she makes him wait! Also, a woman physician, who is Eurasian, was quite an idea back then. This movie was way ahead of it's time in many respects. I intend to get it on DVD, so it will last forever, just like their love!

Based on the 1952 autobiography "A Many-Splendoured Thing," "Love Is a Many-Splendored Thing" (1955) tells the story of Han Suyin, focusing on the romance that Han, a widowed Eurasian doctor in 1949 Hong Kong, had with a married American correspondent named Mark Elliott. "I don't want to feel anything again, ever," Han tells Mark soon after they meet, but the two soon develop the mutual irresistibles for each other, and who can blame them? Mark is played by William Holden at the near peak of his hunky-dude period (the following year's "Picnic" would be the peak) in this, the first of three films over the next seven years that would find Holden in China (1960's "The World of Suzie Wong" and 1962's "Satan Never Sleeps" being the others). And Dr. Han is here played by Jennifer Jones, who, although not a Eurasian (unlike yummy Nancy Kwan and pretty France Nuyen of those other exotic Holden films), does a credible job of passing as one. Whether dressed in cheongsam, European frock, surgical gown or (hubba-hubba!) bathing suit, Jones looks ridiculously gorgeous here. No wonder East meets West in this film so dramatically! With its two appealing lead stars, breathtaking Hong Kong scenery, beautiful CinemaScope and color, Oscar-winning costumes and that classic, Oscar-winning title song that wafts through the film like a lovely incense, "Love Is a Many-Splendored Thing" turns out to be quite the winning and romantic concoction. Han herself supposedly did not care for the picture, so I can only imagine that great liberties were taken with her source material. Still, I enjoyed it. And if the film's ending causes a tear to come to the eye, just remember Mark's words of wisdom: "Life's greatest tragedy is not to be loved."

Han Suyin's autobiographical novel "A Many-Splendored Thing" becomes glossy, unconvincingly clean and luxurious romance set in Hong Kong, 1949, wherein a widowed female doctor of Chinese-English descent falls for an American correspondent stuck in a loveless marriage. John Patrick adapted Suyin's story, apparently turning her heartfelt remembrances into swooning romantic dross complete with poor dialogue exchanges (He: "I can't believe you're a doctor." .. She: "Too bad we don't have a scalpel, I could make a small incision."). Dark-haired, pale-skinned Jennifer Jones meets handsome, smiling William Holden at a party and immediately feigns indignance, as if widowed women bury their sexuality (or feel they must appear to) once a man takes an interest in them. Henry King directs the proceedings with a gentle touch, bringing it all to a misty-eyed flourish, yet Jones' character is never an embraceable one. Constantly referring to her heritage (and the fact she's "Eurasian"), this lady is forthright in all the wrong ways (she'd be more likely to turn off Holden's reporter rather than keep him around). Jones (who got an Oscar nomination) and Holden do create a loving rapport which becomes sweeter once Jennifer loosens up. This hard-working woman curiously puts a great deal of stock into superstitions (omens, Proverbs, butterflies), which seems out of step with such a no-nonsense lady; the sequence where she travels back home to Chunking to visit relatives is also odd (it doesn't take shape, it just appears as though she's running away). Holden performs in a low, easy key and glides through rather unperturbed (nothing ruffles this guy, but there's nothing to explain his devotion either; the man is obviously touched by this woman, but that doesn't tell us much about him). Alfred Newman's Oscar-winning music (and the memorable, Oscar-winning theme song by Sammy Fain and Paul Francis Webster) are lovely, and the locations are gorgeous, though the obvious studio shots are too tidy--even the hospital where Jones works seems overly opulent. A nice-enough weeper for soap fans, though one without the substance to entice a wider audience. **1/2 from ****

In the book The Films of William Holden, the author says the film does not wear well and its popularity is due to the hit title song from the film that you could not get away from hearing in 1955. How well I remember, though I was only eight years old back then. I disagree, the film is a tremendous romance for those who like that and the location photography in Hong Kong is fabulous.

A few things struck me. Since Burt Lancaster and Deborah Kerr had their famous romantic swimming scene in From Here to Eternity, I think that Harry Cohn was trying to one up Darryl Zanuck with having Bill Holden and Jennifer Jones do the same.

I also think and I could cite other film examples from 20th Century Fox that Zanuck acquired the film rights for the original novel with Tyrone Power in mind for the male lead. Holden is fine in the part, but try and picture Power in it. Not to mention the fact that Power's favorite director Henry King is at the helm.

But it is true that the song is the real star of the film. It really carries the romantic plot along. One of the great examples of the right music making a good film.

Ironically both the stars dealt with a lot of heartache in their lives. Holden with his alcoholism and Jones with the various marriages and deaths of people close to her. But when you see them high on that windy hill in Hong Kong they are a pair of the most romantic lovers ever filmed.

RIP Bill Holden and Jennifer Jones. Both of you dealt with so much bad karma in your lives.