Dimmi addio

I was given a copy of this film on 16mm and watched it with great curiosity for years without really knowing what it was. Why it has not been put onto DVD I don't know, but hope that it will soon. The premise of a woman wishing she had a year to live over again is not new, but is given a poignant treatment here, and is quite believable. Richard Basehart as a poet is really a fine performance, even an heroic one. Top it off, the music is written by George (Ballet Mecanique) Antheil, an idol of mine that I had no idea had scored this film--and it is quite a nice score at that, with a pounding climax that must have had everyone on the edge of their seat.

the problem is, i cant locate a copy of this movie. i have looked for literally years, ever since vcrs became popular, and it is nowhere to be found. for some reason i remember the plot of a woman getting to relive the past year with incredible fondness. it was indeed a delightful movie, and i would so much love to see it again.

Basehart's introduction to film has him appearing in a memorable supporting role here. This is well acted by all and superior to the remake, decades later. It hold suspense, with good performances managing to shy away from being overly melodramatic. A woman tries to avoid a terrible destiny when she is given a chance to relive the last year of her life.

Interesting noir that issues from an imaginative premise-- suppose we had a year that we could live all over again. So who wouldn't want that opportunity. Naturally, we could change our own actions to better optimize outcomes, but what about others-- would their actions have to change too.

The premise may even require the entire world to live that same year over so as to fit into the changes that ripple out from our own changes. Conceptual questions aside, the premise is simplified here into a rather clever soap-operish plot— namely, can sympathetic Sheila (Leslie) avoid killing her louse husband (Hayward) a second time around. That is, can she maybe just ignore his many provocations, given a second chance.

Instead of playing up occult aspects, the screenplay concentrates on revolving relationships among sophisticated show-business types. It's a good cast, especially an agreeably addled Richard Basehart. However, I'm not sure the sweetly gentle Leslie has the gravitas for a difficult role, especially for the wronged woman part. Still, she certainly wins our sympathy. Director Werker films in noirish style lending the visuals a suitably twilight quality. The ending too is appropriate, without obvious cheating on the premise.

The movie seems more obscure than deserved and I'm not sure why. It certainly made an impression on me on first viewing many years ago. I suspect the obscurity is because of a B- movie cast-- no matter how accomplished—and a non-studio pedigree. But whatever the reason, the film remains a thought provoking 90-minutes even this many years after.

Very good drama/fantasy which is billed as a noir. Given the moving goalposts for a film noir I suppose it qualifies, but is more like "It Happened Tomorrow" ('44), which is a fantasy but not billed as a noir. In any case, it is an engrossing film that holds your interest from start to finish. Lovely Joan Leslie never looked lovelier, and this must be her best performance in a spotty career. Suave Tom Conway is here as well as Louis Hayward. Another B-lister, he does a nice job as Leslie's alcoholic husband.

According to the TCM host this picture was nearly lost but was discovered after a copy showed up inadvertently in someone's collection. Lucky for us. This is a well done minor gem of a film which benefits from a good script and screenplay. Film fans and noir fans especially would appreciate this unheralded drama with a unique twist.