L'ivresse et l'amour

This Paramount 1952 release came on unexpectedly since it is not often seen. The main interest was the three principals, under the direction of George Stevens, whose body of work speak by itself. Even with a screenplay that is somewhat dated, the film kept out attention from the start.

Jenny Carey, an actress whose stage fright contributes to her alcoholism, meets and falls for Alan Miller, himself a recovering alcoholic. The problem is that Alan is married; he is a decent man who realizes the danger of falling too deep for Jenny. Even if they feel deeply about one another, the stigma of their love for the bottle keeps them grounded. Alan is married to Edna, a decent lady who understands the struggle her husband faces on a daily basis, but never suspects him of seeing another woman. That is, until Edna meets Jenny at a party. Edna, who is expecting a third child, senses something is wrong, but she has no basis for doubting Alan.

The pairing of Joan Fontaine and Ray Milland pays off in unexpected ways. Ms. Fontaine and Mr. Milland were at interesting points of their careers. Both are perfect with their take on the two doomed lovers who understood their would be relation was doomed from the start. Although the characters are not strongly written, the two stars do wonders with their roles which speak volumes about the strong handling of the situation by Mr. Stevens. Teresa Wright who plays Edna, shows why she was always an asset in anything she appeared on the screen. Also, in a supporting role, Harry Bellaver, a veteran actor who went to star in the television series "Naked City", one of the best things of that early period of that medium.

"Something to Live For" is worth a look if it ever shown on cable.

I enjoyed this film a lot. Joan Fontaine plays Jenny Carey, a struggling actress whose insecurities and stage fright drive her to drink. Ray Milland is Allan Miller, an advertising executive who is a recovering alcoholic and a member of AA. He is called to Jenny's hotel room by the elevator operator one night when Jenny had been on a drinking binge. She was due at a rehearsal of a Broadway play. This meeting of Jenny and Alan lead to romance, even though Allen is married and has two children and one on the way. Jenny tries to cut off the romance as she feels it is improper, but Allan is totally taken with Jenny and wants to continue the romance. Joan Fontaine and Ray Milland have wonderful screen chemistry. Both are excellent as their respective characters, although parts of the script are somewhat weak. Will Alan leave his wife for Jenny? Will Jenny conquer alcoholism and get her chance to star in a Broadway play? This film is seldom seen on cable, but is sometimes put up for bid on eBay. It is certainly worth a look. The film was directed by George Stevens.

The movie centers around Milland and Fontaine two alcoholics on the verge of a co-dependent romance. Milland is sober and is trying to help Fontaine, an actress, stop drinking. He is married to Teresa Wright, and has a couple of kids, but none the less finds himself drawn to Fontaine. He finds he is just as needy as her and falls in love, despite the fact that his wife is pregnant. The romance is doomed from the start. In the end Wright and Milland are still together, he realizing that the love for the other woman is not real love, but dependency. I do not see the spark between Ray and Joan. I think another pairing might have been more real. This reminds me a bit of A Life of Her Own, with he and Lana Turner as the doomed lovers. Not much of a spark there either. If George Stevens meant to make a Days of Wine and Roses, he should have shown more of the alcohol abuse with Fontaine. In real life a AA mentor would hardly of fallen in love, with the person he is trying to help. Trading one addiction for another is not the answer.

Despite the fact that you have a good cast, this fails to be a good film, merely because of the script and direction. It is dull from start to finish, and apart from a scene where Ray Milland and Joan Fontaine are reading a script together and then kiss, there is nothing to commend it. I'm not particularly a fan of Theresa Wright, and although her performance may be commendable, she doesn't grow or develop in the part. It is one- dimensional from beginning to end. Having said that, it doesn't harm any of their careers. Fontaine would go on to do 'Ivanhoe' in the same year, and Milland would go on to do 'Dial M For Murder' with Hitchcock. This suggests that as an actor you should do as many films as possible so that the good ones can cancel out the bad ones.

I wonder if Ray Milland was roped into Something to Live For due to a contractual obligation, but I don't have to wonder if he was insulted - of course he was! Did Hollywood see him as anything other than a chronic alcoholic? His role in this "romance" is practically a sequel to The Lost Weekend, but somehow his character manages to be even more unlikable. There are some movies you can watch him in that show him as a great actor; in this one, he's just Ray Mi-bland.

Joan Fontaine is also just Joan Fontaine. Her hunched posture, inability to voice the ends of her sentences, and her ill-fitting smile are all present in this role, not distinguishing it from countless others she played. She's meek and mousey, going on a bender every time she has to perform onstage. If she feels that way about an audition, reading, or opening night, she has no business seeking a career in the theater. Instead of calling AA whenever she collapses, the well-intentioned bellhop Harry Bellaver should have called an employment agency. Joan is a joke.

At the start of the movie, Harry calls Ray to come over for an emergency drunk resuscitation. Ray is unnerved because AA segregates them by gender, and Joan should have had a woman come. Nevertheless, he spends the evening with her and helps her back on her feet. When he returns to his own home, his wife Teresa Wright isn't happy that he's still involved with alcoholism even though he's kicked the habit himself. There are so many flaws with this plot, it's not even a pleasure to watch and criticize it. Ray would never have been allowed to be a sponsor if he was only one year sober and still holding on by a thread. He would have had his own sponsor, to whom he would have told he's mentoring a single (supposedly attractive) woman; and his sponsor would have put a stop to the dangerous behavior immediately.

The "romance" of the story is also a problem. It's extremely obvious that Ray is only attracted to Joan's weakness. She makes him feel strong by comparison, and his wife reminds him of his past mistakes (through his own conscience; she never actually does this). Is the audience supposed to think theirs is actually a deep love? Joan is unhinged and would cling to anyone. Through their clandestine relationship, doesn't the audience recognize the signs of addiction? Ray starts lying again, he experiences highs and lows, he makes excuses to see Joan when he knows it's unhealthy, and he enjoys his alternative persona during his secret life. How are we supposed to root for these people? How can we think their affair gives them "something to live for"? I was very mad at Harry's character, encouraging an adulterous relationship when he had no stake in Joan's future. If he was Joan's brother and truly believed Ray was the only man who could help her live another day, he might rationalize his aiding and abetting. He holds no investment and should therefore stay out of their lives.