Adam and Evelyne

Stewart Granger was 16 years older than Jean Simmons when they married in 1950, so they had real life chemistry together in this 1949 film as mature man (Adam) having a relationship with a beautiful girl (Evelyne).The plot has already been outlined by other user comments so I will merely comment on the time and direction.

As someone who was born in 1946, 1949 was, for most of us, a year in Britain of food rationing, burdensome post war taxes and austerity.Shots of people drinking champagne, drinking and eating in nightclubs, buying expensive clothes and driving expensive cars were a million miles away from most Britons life experiences then.It is only in recent history that gambling has been legalised and it is worth reminding viewers that in 1949 this practise could be prosecuted hence the film's depiction of illicit gambling in private homes.

The relationships of ex-service personnel in the post war period could be strong if they had previously shared privation together during the war in a life inter depending culture.This fact is clearly shown by Adam's steadfast friendship with his Irish jockey comrade who has secretly sired a beautiful daughter (Evelyne) who now resides in an orphanage.Adam and his Irish war friend share a mutual love of horse racing (and gambling) which keeps their friendship current with a strong bond of loyalty between them.The morality of the 1940s meant people could not be seen to be escaping the consequences of the law and a racing scam cooked up between them goes tragically wrong and the Irish jockey loses his life while racing.With his last breath he asks Adam to look after his daughter.A previous reviewer predicted the film's outcome but it is still enjoyable seeing how the characters finish.The mature divorcée who wants to marry Adam (while using her flat for gambling) is in for a bitter disappointment but so is Adam when she tips off Adam's ne'er-do-well younger brother, out of female spite, when she realises she cannot compete in the emotional stakes with the beautiful 20 year old Jean Simmons, when they give the police a tip off about illegal gambling.

There is a nice cameo performance about morality from Wilfrid Hyde White who explains to Evelyne that heroes often come with clay feet.Enjoyable with competent direction in B&W. I rated it 6/10/

Eh, to each his own. It was an okay film, but honestly, I find the way Evlyne so swiftly went from thinking that Adam was her father to being romantically in-love with him rather disturbing. I get that the heart wants what the heart wants and all that, but in my humble opinion, this is one case where it would have been better to keep it a father-daughter relationship. Once Evelyn found out the truth, Adam could have just said that it doesn't matter, because he'll be her honorary father, and that would have been sweet and noble. But, the way the story develops takes that away in a sense, and it feels a trite incestuous to me.

OK so this film does not break any new ground but its worth watching to see the effortless way the two principal actors (Jean Simmons and Stewart Granger) give an impressive performance overcoming the somewhat well worn themes dealt with in the script. Jean Simmons turns from a backward English schoolgirl of the 50's into a stunning deliciously irresistible asexual goddess which will leave all men with a revived faith in the female of the species, at least for a few minutes after watching the film.

Stewart Granger seldom spoke with affection of his movies, but this he spoke glowingly of as "a charming light comedy". Doubtless his mellow recall of this engaging trifle was due to the offscreen rapport he was developing offscreen with his radiant young co-star (they were married the following year), who gracefully matures onscreen from an innocent young waif who inquires "What's a hangover?" to a young woman by losing her beret, having her hair shortened and discovering champagne. And men.

One would think how fresh and unspoilt Simmons was in this; but she never lost the glow with which she was still lighting up the screen twenty years later.

I bought this movie because I love Granger and Simmons so much in 'Young Bess'. The quality of the VHS copy however is disappointing, I wonder if it due to repairing technical problems or lack of budget? Nevertheless, it is still worth the money because every once is a while, there will be a close-up of Granger or Simmons that is clear enough for an audience appreciation.

Granger and Simmons radiate their charms so effortlessly here because the characters they played are practically themselves--English socialites. The overall delightful result may look easy but it is however important that the script did not step into any wrong note.