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I was amused while watching this suspenseful film to notice that whole passages of the music used were lifted straight from Warner's great Bette Davis film, "Now Voyager". Since it was a Warner's film I suppose they had the right. I noticed that Max Steiner, the composer from the Davis film, was given no credit for the music that was used in this film. Seems a shame, but I suppose that's Hollywood. Still, this is a good film with a fine cast of stars and familiar character actors. I enjoyed the location photography and the chilled atmosphere of the film is enhanced by the obvious dead of winter scenery. I mainly just wanted to comment on the music, however, it just surprised me to hear such a familiar score used over again in this film.

I have loved this movie since I saw it in 1958 when I was 12. I have a video copy taped from WGN in Chicago. The movie was shot around Danvers and Marblehead and Boston, Massachusetts. I grew up here and actually worked at Danvers State Hospital where the opening of the film was shot.

Jean Simmons' performance is a masterpiece! It has the feeling of real life in its depiction of depression and mental disorientation. It also points out how important one friend who believes in you can be for the emotionally wrought person. This character, Jacob Diamond, was portrayed by Efrem Zimbalist, Jr. in another overlooked fine performance. His character shows that a little kindness and understanding can go a long way.

I disagree that the film is lumbering. If someone is looking for a car chase, this is the wrong film. If one is looking for great acting and wonderful character development, this film will provide it.

Even the more minor roles are played perfectly. Rhonda Fleming is great as Charlotte's (Simmons) sister subtly wooing Dan O'Herlihy from his wife's affections.

I have seen this film many times, and each time, like a great piece of music, I see more in it.

I have never been able to find it on video. I have my copy thanks to over the air broadcasts. I taped it twice, one station inserting material that is often edited out, and dubbed it into one complete version.

I would love to hear anyone's comments, pro or con, on this film as I am fascinated by people's differing reactions to it.

Sincerely,

Peter3120

This cross between 'a women's picture' and a semi-serious study of mental illness isn't as well known as it ought to be. Maybe if it had been made ten or fifteen years earlier it might have been something of a classic since we're firmly in Bette Davis/Miriam Hopkins territory here. Jean Simmons, (wonderful, but then she was always wonderful), is the woman who comes home after a year in a mental hospital. Home is where she lives with hubbie Dan O'Herlihy, step-sister Rhonda Fleming, step-mother Mabel Albertson and handsome lodger Efrem Zimbalist Jr. and it isn't too long before the reason for her initial breakdown becomes all too clear.

At two and a quarter hours it's a little on the long side but director Mervyn LeRoy certainly demonstrates just why he was considered a consumate jobbing director in his handling of old-hat material and all the performances are first-rate, (Simmons was robbed of a Best Actress Oscar nomination), and its small-town New England setting is at least unusual. However, by 1958 this was a very old-fashioned film and no amount of professionalism in front of or behind the camera was going to turn this into box-office gold. A pity, as it's really rather good.

This is a strong drama built entirely on Jean Simmons' outstanding performance as a woman recovering from a breakdown and searching for love and a home, only to find her own strength instead. Director Mervyn LeRoy and novelist/screenwriter Eileen Bassing confidently put the entire burden on Simmons, who appears in nearly every scene, and the actress delivers a character who continually defies and exceeds the expectations of those around her, and the viewer.

We meet Charlotte Bronn as she is returning from a long stay in a mental hospital following a nervous breakdown that included episodes of violence and paranoia. She's shaky and vulnerable and painfully self-aware. But even before she first appears at the end of the long hallway, walking towards the camera and into her new life, those closest to her have already begun to let her down.

We quickly begin to learn the source of her downfall, but Simmons doesn't give us a victim and the film doesn't back away from real mental illness- the portrayal of Charlotte's recovery and gradual tilt towards relapse is surprisingly sharp and modern.

"Home Before Dark" is understated, in an almost documentary style, more smart than clever, but the energy and pacing are crisp enough that the film always seems within one twist of becoming a noir thriller or Hitchcock suspense. Charlotte is desperate for acceptance, her husband's love, and the truth about her marriage, all of which are withheld, and we naturally expect a handsome man- any of several on hand- to step forward and solve her problems, either romantically or as a confidant. The film's value comes from its steady refusal to take those easy paths.

The pathos is tastefully understated but powerful nonetheless- Charlotte says she's not beautiful, she says she knows her husband doesn't love her and that she's not worthy of love- and her husband simply fails to contradict her. The film is, among other things, a relentless study of one spouse failing another.

We root for Charlotte Bronn as she stumbles- her story never does. This is one of Simmons' best.

Charlotte (Jean Simmons) comes home from a mental hospital, shaky but game. She's been cured of all her delusions - that her husband and stepsister are having an affair, and conspiring behind her back. Except that her husband (Dan O'Herlihy) really does crave her stepsister (Rhonda Fleming) and they do talk about her in whispered tones. Even their new lodger (Efrem Zimbalist) can see it. But they deny it and she tries to deny it some more, to keep peace in the family. Finally, she can't. Is she having a breakdown or a breakout?

Admittedly, it is slow - the direction is cumbersome. But occasionally, it nails Eileen Bassing's novel with its stifling New England academic atmosphere and the rigidity of its codes. Jean Simmons was nominated for Best Actress in this role, and small wonder; it's one of her best this side of Elmer Gantry. Steve Dunne has an engaging appearance, and it's Rhonda Fleming who gets to be unsympathetic for a change.

If I could find the video, I'd buy it. But it's not for teenaged boys.