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Producer-director Mervyn LeRoy knows how to trail a false scent or two across this story; we receive hints of other films (Gaslight, for example, or almost any Hitchcock) and begin to wonder. Keeping us doubting, and keeping us outside the vulnerable and troubled main character, played superbly by Jean Simmons, we are left in a strange, low-key state of suspense right to the end. Is she mad, is she being manipulated for some nefarious end? Are her family conspirators or just unfeeling? If the latter, who is to blame? We want to rescue this character, we have in the story two likable men who seem to be candidates for white knights. Again, LeRoy manipulates our expectations of a melodramatic plot twist, a catharsis of the sort we have seen in those other films, in which all will be revealed. But, without spoiling the story, this is a different sort of film. Between the first scene and the second to last scene, we are held in a kind of suspended animation, together with the Simmons character. It is only very late in the film, however, that LeRoy lets the scales drop from our eyes.

Some may find the other family members too unsympathetic, early on especially. If there is a weakness in the formula, this is it. For me, the powerful sequence on Christmas Eve in Boston – the shopping jaunt, the party and the confrontation back at the hotel - settles such doubts as exist.

The ledger is more than balanced, in any case, by a good script, fine black and white photography, a convincing portrayal of a hidebound and catty faculty town (politics has nothing on academe), sensitive direction by LeRoy and, especially, Jean Simmons at her considerable best. This film deserves more admirers. It is that quietly spoken guest at the party who, if you spend some time listening, has more to say than the usual cinema windbags.

I have seen many Jean Simmons' movies, and I thoroughly enjoyed this one.

I saw it as a young teenager on TV in Memphis, Tennessee, and it made quite an impression on me at the time. I haven't seen it since, but I still remember so many images from the movie. Not only was the acting excellent, I felt that I almost knew the characters personally. Jean Simmons was tremendous, as always. I have ordered other movies of hers, and have taped the ones from TV that I could.

The tone of the movie was also an important part of the story. As I recall, it was cold, winter, and filmed in Black and White, which gave it more of an impact. It's just occurred to me that since I saw it in b&w, I don't know if it was made in b&w, or if it was in color, since I was viewing it on a b&w TV. I think the starkness of the b&w made it very effective. I continue to look for it on TV and would LOVE to have a copy of this movie, if it ever becomes available! Donchu

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

Jean Simmons goes home after being treated for depression, but is her husband ready for her? And, her sister? Dan O'Herlihy and Rhonda Fleming star in these supporting roles, but the film belongs to Jean Simmons as she tries to find herself. Efrem Zimbalist. Jr. is good as a boarder in the house and she finds a consoling and understanding friend in him. In fact, Jean Simmons and Efrem Zimbalist played off each other very well. But, Dan's character was horrible to her and I couldn't stand the way she was treated. All in all, I loved this film and that it was extremely well made and acted by all. If you get a chance to see "Home before Dark," watch it and see for yourself just how great an actress Jean Simmons really was.

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.