La colline de l'adieu

Some movies just stands up to the changes of time. This is one such movie. Why it never gets old is because it's a quality production, with good settings and story.

I really love this movie, although the story is kind of simple, the situation is not. Jennifer Jones plays an Eurasian woman from Chung King, and William Holden a reporter from Singapore. Two people from a very different background meet in one of the most international city in the world - Hong Kong - where old Chinese culture and new capitalism meet. Now that would be confusing to anyone who's trying to sort out their relationship.

The movie combines all these elements well, and exotic Hong Kong location adds to the beauty of the story. It's interesting to see Hong Kong in 1955, comparing it to Hong Kong of today. Some places looks similar like the Victoria Peak (although it has no high rise buildings), but Aberdeen was much less crowded.

Music score is a real tear jerker.

If you like romance, this is one of the best movie you can watch.

... in my opinion, of course. There are films that come close-- An Affair To Remember, Rome Holiday, and several others. But for sheer appeal to die-hard romantics like myself, Love Is A Many-Splendored Thing is the absolute pinnacle. It qualifies as a "perfect" romantic vehicle in my mind because of it's perfection in all areas of the cinematic art-- story, script, location, acting, even in it's controversial subject matter, illicit love. But in the capable hands of William Holden and Jennifer Jones (a truly inspired bit of casting), both still in the prime of their careers, it became a thing of beauty forever. In fact, one totally forgets the racial context of their love affair, leaving only the passion and romance. I even loved the theme song, which like the film itself, has become a romantic standard over the many decades since it was made. This was the first movie that made me cry like a baby, the dramatic emotional impact in my life, totally unforgettable. This epic film, exploring everything from racism to the the horrific toll of war, is one for the ages.

This film always hits me hard emotionally at the end. Though the issues of the film - interracial romance and adultery - were controversial at the time, this film goes way beyond those narrow parameters and instead penetrates into ground-breaking novelty and trail-blazing uniqueness. Here we have a true love story, as written by the woman involved in this love affair, told in a brilliant aggressive style that extols the virtues and glory of mad passionate love. I "love" this endorsement of the only emotion that makes life truly worth living. Jennifer Jones is full of grace and William Holden is simply magnificent in his role as a reporter. A wonderful film that only people who have been in this kind of love can really appreciate and understand. And for those who haven't yet been in love, even just the hope that one day lightning can strike for you makes life worth living - because love is worth having even if but for a short time - even if you lose - because love is the "stuff" - the essence - of life. This film works for me. A warmly felt experience!

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 ****