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It's easy to associate "The Passionate Friends" to its detriment with "Brief Encounter"; in its voice-over/flashback structure, in its themes of suicide and adultery, and of course in the casting of Trevor Howard. But in a sense -- although not, unfortunately, an entirely successful one -- in a sense, the later film is an attempt to do something very different with this source material. At the most basic level the two pictures have virtually nothing in common: "Brief Encounter" is a story of renunciation and unselfishness, of ordinary lives in an unromantic setting, of heartbreak from a painfully honest narrator. "The Passionate Friends" (a title never really explained) revolves ultimately around selfishness and self-deception, lavish trappings and a shallow surface gloss epitomised by the cheesy 'Swiss' tourist music that backs the initial establishing shots.

Mary's swelling soft-focus memories of her grand passion are deflated by jarring little jabs from the director, in what I suspect is intended as an alert to the viewer that her romantic-seeming situation is not quite what it seems -- in effect, she is an unreliable narrator, and the pay-off comes when she perceives, finally and appallingly, what she really is and what she has done. It is a climax worth waiting for, but it is slow to arrive; and the subtle wrongness in the love affair, the self-dramatisation and lack of authenticity (whether or not these are deliberate attempts to undermine her presentation of events, as hindsight suggests they may be) until then tend to come across simply as unconvincing story-telling.

It is never clear just what Mary means by her assertion that she wants to belong to herself and not to any lover. By the end, however, it is all too apparent that this mantra, reminiscent of the "Can't tie me down, babe" slogans of the (male) serial shaggers of the Sixties, is every bit as self-indulgent a female pose. She is in love with the idea of being in love: playing at it, day-dreaming transgressions. But when reality strikes, the whole game is exposed as a silly, hugely destructive fantasy.

After the first showdown with her husband (which we are specifically, and with hindsight, significantly, not allowed to witness), she warns Steven that she is not truly a good person to love. We -- and he -- do not then either understand or believe her; but she is right. She is not prepared to give herself, in modern parlance to 'commit': but she will not let go either.

The trouble for me is that for most of its running length the film seems to be simply a somewhat off-kilter account of an adulterous affair, over-ponderous, with clumsy use of music and heavily ironic dialogue. (The cinema audience, young and out for a good time, spent rather more time giggling than I assume the director intended.) The cinematic tricks that are present, such as the abrupt cuts in the taxi scene, the nested flashback structure, or the montage of advertisements in the Tube station reading "Keep Smiling", "Strength" and "Saved", too often seem awkward or labouring the obvious. If the idea was indeed to subtly undermine audience preconceptions, it doesn't really work -- there is no equivalent here to the stunning shift in perception that exists between the opening sequence of "Brief Encounter" and the final unwinding of the flashback.

As the ambiguous Mary, Ann Todd is a strangely elusive presence. The character is at the heart of the plot and has the lion's share of screen time, and yet most of that time it's hard to get a grip on her beyond the superficial. I'm still not sure whether this is an intended result of the acting and/or direction, or a flaw in the film.

Trevor Howard carries off the role of the unfortunate Steven with angular charm and provides the requisite sense of bewildered decency; but as others have rightly remarked, it is Claude Rains, in what might appear a largely peripheral role, who steals the show. Rich, older, physically unprepossessing, and mildly affectionate towards his wife when he can spare a moment from the financial markets, Howard Justin is the face of moneyed security versus the romantic passion promised by Mary's once-and-future lover, and as such represents the trappings of a marriage of convenience rather than an actual human being. But almost from the beginning we are made aware that he is neither unintelligent nor unobservant; later we discover that he is not as complaisant as the other couple have assumed, and finally, that he can be hurt -- and can love -- as deeply as any other man. Over a mere handful of scenes in the course of the film Claude Rains manages to convey more tension and real emotional presence than anyone else, and it is this contribution that makes the final twist both plausible and satisfying.

"The Passionate Friends" is not the great film that I feel it is perhaps trying to be; but it is certainly not an abortive carbon-copy of "Brief Encounter". The resolution of the film is starkly effective and is worth sitting through a glossy and rather uninspired beginning for: as a whole, it can be seen as an honourable failure.

(Edit: for what it's worth, in the month since I saw this film I haven't been able to get it out of my head...)

The Passionate Friends (1949)

You wonder how this movie would be told without the Hays Code (and its British counterpart) hovering over the scriptwriter and director. But here we have David Lean's version of the much older H.G. Wells novel (from just before WWI) with all the restraint of movie romances of the period. That is, without our modern idea of passion.

And that's one of the things that makes this really work. It's not about making love on the sly, or going rapturous on screen. It's about the complicated emotional needs and conflicts of three people. That's what passion boils down to, at least in a way that we want to spend time with. And though this is not a full fledged love triangle like "Jules and Jim" (it's one woman caught between two men), it does play with the clashing and melding of three personalities and their passions.

Oddly, you learn fairly soon that the passion of the older man, played by Claude Rains, is deliberately not passionate. That's not what he wants in love. The younger man (not by much) is played by Trevor Howard and he is a sweetheart, with a family, and yet he still has that pure ideal love for the woman he can't shake. Even though she is married to the older man.

The woman holds it all together, both in the story, since she is involved with both men, and in the movie, played with amazing force and nuance by Ann Todd. When she first appeared on screen, thinking to herself on a plane taking off, I thought she was a little like Joan Fontaine, and since I love Fontaine, I was going to be open to this inferior version. But she wasn't inferior one bit. The longer the movie went on, the more I realized what a deeply felt, complex performance Todd gives. She not only has to be a different kind of woman with each of the men, she has to do so in different time periods over about eight years. Great stuff. I want to watch it again just to appreciate her. She was almost wholly a British actress, not moving to Hollywood, and so she never had an American audience the way some of the more famous stars here naturally did. Too bad for everyone.

The movie, as such, has a little inevitability to it--not that we know how it will end, exactly, but that we know how it will probably end, the one or two main options. The rivalry, the jealousy, the caught looks across a train station, the views from the Italian Villa, all the clichés are here. They are all perfectly handled, for sure, but an edge of originality would have helped a lot. I'm very curious to read the Wells book just to see how complex he makes the woman, and the story. And to check the ending he had in mind in 1913.

Lean, the director, is a legend of course. He made so many really fine films, important ones, it's easy to overlook this one. Even the slightly similar (in feel) "Brief Encounter" from 1945 casts a huge shadow here. Throw in "Lawrence of Arabia," "Dr. Zhivago," "Blithe Spirit," "Bridge over the River…." You get the idea.

See this. Expect nothing sensational, and you'll be sucked into a really superb, conventional, beautiful romantic drama. I just read (and gave a thumbs up) to a long review for this film that seems incredibly perceptive, but which maybe forces too much analysis onto the motives of the players here--especially for someone who hasn't seen it yet. I suggest getting sucked in and taking the advice to be patient, but also forging your own view of the events and hearts involved.

I was surprised to learn that the original story for The Passionate Friends was written by H.G. Wells. Someone nowadays we identify with the science fiction genre. Certainly it seems to be what has survived best in English literature.

The original story was written in 1913 so some considerable updating was done to make it 1949 contemporary. Lovers Ann Todd and Trevor Howard had an affair back in the day which was ended when Todd's husband Claude Rains found out.

Eleven years go by and Todd and Howard meet at a mountain ski resort in Switzerland. Howard's now married and moved on, but they spend an innocent afternoon reminiscing. Rains catches them and misinterprets with near tragic results.

Ann Todd may be one of the most beautiful women ever to grace the silver screen. She's probably best known in America for being Gregory Peck's loyal wife in The Paradine Case. No wonder Rains is so jealous.

Trevor Howard is essentially doing the same part for David Lean that first got him stardom in Brief Encounter. In fact the story could almost be what happens to the protagonists in Brief Encounter if they met up again in the future. Claude Rains is always right on the money with his portrayals. There's a lot of what John Barrymore did in Maytime in what Rains does here.

If it were done here in the USA, this would have been labeled a woman's picture. It is in fact a nicely done romantic story.

For The Passionate Friends David Lean treads similar ground as he does in his masterpiece, Brief Encounter, although here the source material is an HG Wells story as opposed to a Noel Coward play.

The post-war Lean, with his attention to psychology and emotions, handled these stories of problematic romance brilliantly, and The Passionate Friends is a great example. We open with clouds and snow-capped mountains, a holiday location that foreshadows Lean's Summertime (1955), straight away giving us a sense of dreaminess and soaring emotions.

This is Lean at his most psychological and expressionist. The sound and imagery is always calculated to mirror feelings – like the abruptness of the plane wheel touching the ground when Claude Rains returns from his trip abroad. The acting really supports this too. Considering it's a story about a love triangle, a large amount of the story is told through scenes in which one of the three principal characters is alone, or at least unobserved, and the actors convey inner thoughts through subtle expressions and gestures.

Also, like the bulk of Lean's pictures from this era there are references to the war and the impact it had on British society. It's probably no coincidence that the decision was made to set the flashbacks of the affair in 1939 (Wells' original story was decades older), the year that war broke out. The cold, bureaucratic Claude Rains seems to be in part symbolic of the necessity in wartime to be rational and emotionless, and the story is an allegory for the need to break away from that.

While it is a good story and very well-made, The Passionate Friends is unfortunately no Brief Encounter. On the acting side, Claude Rains is brilliant as always, but I'm less convinced by Ann Todd, who perhaps got the part more because she was Mrs Lean that for her talent. The plot can be a bit confusing with its flashbacks within flashbacks. Probably the biggest problem though is that we never get to totally empathise with the characters. While Brief Encounter's sheer ordinariness made it so universal, you don't get this to the same degree here, and that makes it by far the weaker of the two pictures. Still, it's by no means a disaster, and still one of the better films of David Lean's 1940s output.

This David Lean romance seems to have been swept under the carpet and yet it may be his most underrated masterpiece, (it's infinitely preferable to such elephantine fare as "Ryan's Daughter" and "Doctor Zhivago"). It marked the first time Lean would abandon the studio for more exotic locations, (in this case, the Swiss Alps), and seems designed as a vehicle for his wife, Ann Todd, who is outstanding as the respectable English wife who dallies with an old flame who happens to check into the room next door at the hotel she's staying in while on holiday. He's Trevor Howard and it's as if this is what might have happened in "Brief Encounter" had the lovers a bit more chutzpah.

Howard, too, is superb, (he always was; he remains one of the most underrated of all the great actors), and Todd's husband is the consistently excellent Claude Rains at his very best. As a tale of a genteel marriage threatened by genteel adultery it's beautifully done and why it isn't more highly appreciated is something of a mystery. If, like me, you believe Lean to be one of the great directors then this is essential viewing.

A rather early entry in David Lean's career, his directing skills show through in some dramatic moments that require intense atmosphere. Nevertheless, the film is not the best example of Lean's abilities - both before and after it he directed superior productions - but this one is still okay viewing. With many flashbacks melded in with the plot, some are better done than others, and likewise, sequences showing the thoughts and dreams of the characters vary in effectiveness. There is a memorable sequence that features multiple telephone tracks, and there are also a few other neat tricks in the mix. The cinematography is quite good, and the cast keeps the film at an interesting level. Still, it is primarily of interest to followers of Lean's work.

Invariably this film is bound to be compared to "Brief Encounter" and I guess that's to be expected given they were both directed by David Lean, starred Trevor Howard and featured adultery. Frankly I think any comparison to be unfair because that's where their similarities end. I've seen both and I favor "Passionate Friends". I should add that Ann Todd is not one of my favorite performers. Her demeanor can be expressionless and somewhat off putting. But here she truly shines. In Lean's extensive close ups she reveals inner feelings without uttering a word. And her smiles are explosively radiant. She utterly owns this part. The male parts are equally excellent. All the performances wrap the viewer with their passion and involve him in the characters' fates. This is not light viewing. It's an emotional roller coaster and as the climactic finale unfolded I found myself talking to the screen trying to influence the outcome. Without a doubt this is a story by adults, for adults. Highly recommended.

As countless people on this board have pointed out, comparisons of David Lean's "The Passionate Friends" and David Lean's "Brief Encounter" are inevitable, though probably not correct. This is a very different story.

Told through the narration of the main character, Mary Justin (Ann Todd), it's the story of a man, Steven Stratton (Trevor Howard) and woman (Todd) in love who don't marry because he can't give her the good life. Instead, Mary marries financier Howard Justin (Claude Rains), whom she likes but doesn't love. Howard knows this, and, not being in love with her, so he thinks, doesn't mind.

Five years later, she meets Steven again, and they become re-involved. Steven is unattached and, when Howard finds out, he expects Mary to run off with him. She doesn't. She asks him to leave and not see her again.

Ten years later, while Howard is on a trip, both Mary and Steven run into one another in Switzerland. This time, Steven is happily married. Nothing goes on between them, but Howard doesn't believe Mary when she tells him that.

"Passionate Friends" is an interesting psychological drama, really focusing on Howard and Mary. Claude Rains dominates throughout the film - restrained through most of it, when he lets loose, it's really something. Howard is very likable as Steven, who is jerked around by Mary over the years.

My feeling is that the film was supposed to focus on Mary, but this was derailed by Claude Rains' performance and Todd's (Mrs. Lean) detached quality. She's very good, but the character remains an enigma. Mary can't make a commitment. At the end, when she realizes the devastation the situation will bring, she's ready to sacrifice everything so that it doesn't.

Parts of "Passionate Friends" are very strong, but some of it, due to the flashback within a flashback, gets a little confusing. Nevertheless, the performances are strong, and, if it's not entirely successful, it's at least a fascinating "not entirely successful" instead of just being bad.

This film is one of the highest peaks of David Lean's achievement as a director, and possibly it owes something to the fact that he married its star Ann Todd in the same year, which may have helped him elicit her supernaturally radiant performance. Four years earlier, Lean had made 'Brief Encounter', but this film, again with Trevor Howard as the romantic male lead, far exceeds the earlier work in subtlety and genius. Every frame is lovingly composed, and the film is a cinematic masterpiece which can stand beside any Visconti work for comparison. Three future directors worked on the film: Ronnie Neame as producer, Guy Green as Cinematographer, Clive Donner as an editor. There were three editors, and whoever was responsible for it, the final editing is a work of the highest genius. The cinematography by Guy Green and camera operating by Ossie Morris are as good as they get. Everything combined to make this film a triumph and a true work of art. The three stars, Trevor Howard, Ann Todd, and Claude Rains, all excel themselves as they enact this intimate study of a love trio, as if we were standing invisibly beside them and could see it happening, without their being aware of our presence. The tale is drawn from a novel by H. G. Wells. The novel was made into a silent film in 1922 by the famous British director, Maurice Elvey, but it is doubtful that a print of it survives, and I have never heard of anyone who ever saw it. Eric Ambler wrote the screenplay for the Lean version, with immense subtlety. The only one of the three main characters who does not have a major character flaw is Trevor Howard, who is the unfortunate emotional victim of the other two. Ann Todd's character flaw is like an invisible crack in a Ming vase: you can't see it, but the value is immeasurably lowered, as she keeps trying to warn Howard, who cannot believe it: 'My love is not worth much,' she says, and he does not hear her. She has running through her the most abject streak of cowardice, nearly impossible to detect except in extremis, but which reduces her to the status of what one would find for sale at a discount in a cracked china shop. (There used to be such a shop in the King's Road in Chelsea.) Ann Todd shines and is deeply loving and 'true', but repeatedly collapses at the crucial moment and betrays herself every time. This film should really be shown to psychology students (that is, if they could stop studying rats and take an interest in humans). Claude Rains's character flaw is a total denial of love and feeling, as he is convinced he can live without them, that they are unnecessary indulgence. Well, you can imagine the complications. Or perhaps you can't. Better to see the film. In fact, everyone should see this film who has any sensitivity, while those without sensitivity should avoid it, as they will not understand a single thing. What is evanescent is invisible to those with dull inner sight. Psychologically speaking, we have here the intricate elucidation of an invisible character flaw in a woman who appears perfectly normal, warm, glowing, and delightful. Ann Todd's performance is perfectly judged, as it is the very invisibility of her flaw that provides the emotional shock value for the film, and its importance as a lesson to us in human imperfections.

Ann Todd puts in quite a strong performance in this quite sensitively presented drama as "Mary", a lady contentedly if not ecstatically married to financier "Howard" (Claude Rains). One afternoon she bumps into "Prof. Stratton" (Trevor Howard) and that rekindles memories of a pre-war romance. When her husband has to go to Switzerland on business, she accompanies him and yes, you've guessed, she encounters "Stratton" again - though this time her husband spots her distress when they part and she is rumbled. This is another solid effort from David Lean that allows the performances to develop at their own pace; the characters each have flaws and strengths and his adaptation of this lesser known HG Wells story is quite a poignant and characterful look at how the choices we make evolve and change over time. The title is a bit misleading - for passion is really the one thing that is truly absent throughout, but Rains and Howard - two distinctively different style of actors work well as the foils to Todd's uncertain and needy "Mary" who is probably far more excited by the idea of love rather than actually experiencing or enjoying it. I could have done without her narration - it distracted me from an otherwise superior drama that is certainly a delight to watch, if not necessarily one with characters to admire.

This film surprised me a lot. I watched it merely out of curiosity; by the end of the film, I was struck by Ann Todd's performance and had to watch the film twice back-to-back. She expressed her character's inner turmoil so well that I wonder if she was playing herself. I profess I don't watch a lot of movies, barely up to 2,000 films. However, that is only because I am damn picky.

This is rather a mature story of romance. How a relationship could evolve from a marriage of convenience to a real thing of beauty between two people. How one's maturity could evolve from a real thing of passion to a mental state of contentment and stability. It's also a story of irrational jealousy that could potentially negate a prosperous family life.

This is a good example of a film where filmmakers do not have to resort to gratuitous, meretricious scenes to portray lust or passion.

Ironic title, huh? This early David Lean film is typical late 40s British cinema, stiff and bloodless. Except for a lone "Get out of here!" spoken by cuckolded Claude Raines to his cuckholder, Trevor Howard, the proceedings are in the best stick up the rectum tradition that the Brits perfected and which drove the French, especially young film makers like Truffaut, crazy all through the 1950s until, with the advent of the Angry Young Men and the Kitchen Sink genre, English movie dramas finally began to loosen up. Viewed now it all seems a bit overblown and overdone with too melodramatic music and rather obvious cinematic devices, like a cold wind blowing through opened curtains and ticker tape emptily clacking to let us know that Raines' character is callous and emotionless. Still, Eric Ambler's dialogue is literate, Lean's pacing is excellent, as usual, so that the film rarely drags and Raines has rarely been better. Plus, he finally gets the girl in the end! So how can you hate this movie? Give it a B minus.

The Passionate Friends is the first of three films that director David Lean made with Ann Todd in and she gives a fine performance in this mannered British melodrama that evokes in ways two other popular British films of the era, Lean's Brief Encounter and the Todd starring The Seventh Veil.

Former lovers Mary Justin (Todd) and Steven Stratton (Trevor Howard) meet accidentally at a New year's party and rekindle lost feelings. Trouble is she is married to a wealthy banker Howard Justin (Claude Rains) and Stratton's in a committed relationship. Justin discovers the affair however and puts an end to it. Nine years pass and they meet again while vacationing. Stratton is now married with kids but Howard thinks otherwise and files for divorce. Mary becomes desperate and suicidal.

With quality performances (especially Rains) from all of the leads The Passionate Friends is credible melodrama that overachieves with Lean displaying his superb grasp of film language, employing jump cuts, montage and juxtaposition for maximum effect. With a few Hitchcock like flourishes along the way he does an excellent job of keeping the audience guessing right up until the final minutes. It is this subtle triumph of form that makes The Passionate Friends a superior example of its genre.

When I saw the trailer for this 1948 film on "UTube", I was immediately struck by the similar musical format to "Brief Encounter".In the latter film, Lean wisely increased the dramatic tension by adding a classy soundtrack by selectively dubbing on Rachmaninov's 2nd piano concerto in C minor (played by Eileen Joyce).In "The Passionate Friends" he dubbed on the adagio second movement of Grieg's famous piano concerto in A minor.By casting Ann Todd as the leading lady he added more verisimilitude in the minds of the paying public who had previously seen her play a concert pianist in "The Seventh Veil (1945).As I have only seen the trailer I have graded it 7/10 which was the average universal rating of other informed reviewers many of whom have given very sagacious comments above.

H. G. Wells wrote his novel in 1913 and it was first filmed by Maurice Elvey in 1922. By all accounts David Lean was reluctant to take it on and did so only as a favour to Ronald Neame. Once he agreed to do it however nothing less that the very best would do. Although Eric Ambler is credited with the screenplay, he was aided considerably by Lean and Stanley Haynes. Ann Todd with whom Lean had initial 'temperament' problems and Trevor Howard are both superb as the lovers. Howard replaced Marius Goring who would not have suited. Lean had a habit in his films of sometimes making an actor in the cast feel 'left out'. In this case the victim was Howard. The film actually belongs to Claude Rains for whom Lean had the deepest admiration. His portrayal of the betrayed husband is consummate and a masterclass in great film acting. Lean's own verdict on the film? 'Very nearly very good but a little cold'. I feel he was being unduly harsh on himself as anyone who is left unmoved by the final scene has a heart of stone. The film was criticised at the time for its extensive use of flashbacks. Ones heart goes out to those poor souls in the audience who get so easily confused! Lean's mastery of the visual, his 'cutter's' instinct and the excellent performances make this an absorbing and immensely satisfying film.

Mary Justin (Ann Todd) checks into a hotel in Switzerland. Steven Stratton (Trevor Howard) is staying in the next room. Mary recalls nine years earlier at the same hotel with her husband Howard Justin (Claude Rains). She has a secret affair with Steven.

This is based on a H. G. Wells novel and directed by the great David Lean. It's a few years after Lean's great Brief Encounter. I won't compare the two other than I feel less for this movie. Whatever the case, I do appreciate the emotional content on display. Ann Todd is beautiful. She's also showing the emotional conflict within her. I believe her love for Steven. It's a nice performance.

Although it bears many similarities to David Lean's excellent Brief Encounter (released in 1945), this effort adds a decidedly darker dimension to the familiar tale of illicit lovers. The Passionate Friends contains a wonderfully creepy Noir feel, with an almost Hitchcock-like suspense, especially in the way the camera angles in on the characters, emphasizing the inherent volatility of their situation.

Much of the foreboding Noir doom can be attributed to the wonderful Ann Todd, who can't help but possess the dangerous look of the quintessential femme fatale, even when she's happily drinking in the excitement of a speedboat ride on a sun-drenched lake. She in fact might well have made the perfect "Hitchcock Blonde" ten years later.

The venerable Claude Rains and Trevor Howard suit their roles to good effect, especially Rains as Todd's suspicious husband. The film ends predictably, with a production code-approved resolution. But it's well worth a look, and stands up well alongside Lean's earlier Encounter.

For the life of me I don't understand the romantic allure of either Ann Todd or Trevor Howard qua upper class movie Brits as a "type"

To suggest that Ann Todd was the "little Garbo" is pathetic - where Garbo smolderded red hot sexuality - Todd is Little Miss Priss with a constant sort of constipated look of petulance and a very weak little girl "blonde" look.

And as for Howard - altho he was great as an older "character" actor because then he was interesting - as a young "romantic" lead he's just a Brit caricature - weak chin, tail and frail, puppy like Brit let's-go-our-side-rugby team sort of enthusiasms over absolutely nothing, always buttoned into some part or all of the seemingly same seedy three-piece suit (at tea, on the go, in the loo) & slightly mungy tie etc.

And together - Todd and Howard - omg. His idea of a "kiss" is to sort of repeatedly smash his face against Todd's upturned dissatisfied Cupie Doll side cheek or to engage in oh so suave Brit repartee - e.g., breathless Ann Todd: "it's getting veddy dark, veddy early, isn't it"- whereupon in reply, oh so fondly, Trevor Howard: "oh yes, but remember, we had a veddy long lunch" - or, Howard: "I've been thinking", Todd: "Yes, I know" - The description of this sort of dialogue - and sexual chemistry - that comes most readily to mind is "treacle."

Well, that's my curmudgeon critique - can't recommend the thing unless one takes it as camp and gets a laugh out of it. Lol :-)

Based on an H.G. Wells novel, this film has a familiar look to it for those who have seen Lean's brilliant masterpiece, A Brief Encounter. Both films were directed by David Lean; both star Trevor Howard; both are about extramarital love affairs; both are narrated—in flashback--by the unfaithful wives, Celia Johnson in A Brief Encounter and Ann Todd in The Passionate Friends; and both were released in the late 40s. But after that, the two films start to diverge a bit.

This movie is a masterpiece, no doubt about it, but not in the same way as A Brief Encounter!! While A Brief Encounter takes place over a few days and seems plausible, The Passionate Friends occurs over years and seems almost impossible. In addition, in A Brief Encounter, the flow of Celia Johnson's thoughts--linked by the Rachmaninoff theme that runs throughout the movie—is a stroke of genius that has no parallel in The Passionate Friends. So, while Celia Johnson's character seems temporarily confused, Ann Todd's seems selfish and immature. Another word you could use for Todd's character is 'stuck.' I mean, anyone who can't get over an old love affair after nine years is really 'stuck.'

As the movie begins, Mary Justin (Ann Todd) is on holiday in Switzerland where she will later be met by her husband, Howard Justin (Claud Rains). Howard is an international banking executive, more geared towards realism than romance. When Mary arrives at her Swiss hotel, she finds that the room adjoining hers belongs to her old romance, Steven Stratton (Trevor Howard). At this point, she starts remembering the last time she had seen Steven, nine years ago.

Her memories are shown to us in flashback---In the flashback, she meets her old boyfriend, Steven, at the New Year's Eve party welcoming in 1939. Mary and Steven rekindle their old love while Howard is out of town on business. When Howard returns, he thinks that their friendship is innocent until he discovers, on his desk, the tickets for the play that they were supposed to be attending. When Howard goes to the theater and sees that those seats are empty and they aren't at the play, he and Steven openly confront each other. However, even though Mary had planned to divorce Howard to marry Steven, she relents and gives up Steven's romantic love to maintain the financial security of her marriage.

As the movie returns from Mary's memories to the Swiss holiday (in the present), it appears that her faithfulness is again be tested. But, nine years have passed since her first affair with Steven. All three people had matured a bit. Steven is now married with two young children. Yet, as Steven and Mary go up into the Alps alone together, Mary still sees to imagine things as they were nine years ago, and acts accordingly...

There are some fine moments in this movie, especially those with Claude Rains, who can be very cleaver and controlling. (At times, you hate him for his treachery; at other times, you feel sorry for him.) If you think about Claude Rains, he is one of the most talented actors of the 30s and 40s for portraying non-physical villains.) The movie also seems well directed, with different scenarios fitting together perfectly like a giant jigsaw puzzle.

It also presents interesting dilemmas about idealism versus realism and the contrasting notions of romantic love affairs versus the loyalty and fidelity of marriage.