A História de uma Mulher

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.

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.

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.

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.

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.