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A LIFE OF HER OWN (1950) TCM It's 1950, it's pure melodrama, and it's anchored on the star being and staying gorgeous from beginning to end. No one does this better to me than Lana Turner and she does it again here. Someone else can spill out the plot. I mainly want to add that I watch very few dramas, and I was so hooked from the beginning that I passed up a potentially good mindless romcom for this. So Lana, her beautiful clothes, and fine acting sucked me in again, but I don't mind because she was in top form here despite the script not being up to the standard of "Imitation of Life" which is one of the greatest melodramas ever. I seriously doubt I'll ever watch this movie again, but if you love melodramas and Lana Turner, then this is a classic to see at least once.

Kansas girl makes a splash in New York City as a print model, but her love affair with a married man may ruin her. From the era where independent career girls were only ambitious until a man entered the picture, this "woman's movie" is naïve and rather unconvincing, though it is seldom soft; the knowing dialogue has a sharp, bitter edge, and the performances are solid, making it a cut above the usual soap opera. Isobel Lennart's screenplay is dotted with cutting little truths--too many, perhaps; often, the greedy masochism is underlined with a moral conscience (and tinkling piano keys) which turns the whole thing into a heavy-breathing melodrama for sufferers on the high road. Lana Turner does a lot of striding up and down, and she seems too seasoned to be a novice in the film's opening scenes, but her desperate gaiety is touching. Ray Milland does his usual colorless nice-guy turn, but Ann Dvorak is startling playing an over-the-hill model and Margaret Phillips (as Milland's wife--an invalid who beams with sanity and understanding like a saint) is excellent in the film's big scene, where the two women meet. Not an important picture, nor a provocative one, but a star-vehicle that does manage to touch upon some resonant truths about women, their careers, and their fragile hearts. **1/2 from ****

Lana Turner goes into the modeling world hoping to get discovered. Along the way, she meets Ray Milland, who's a married man, and of course they start having feelings for each other. Ann Dvorak (from Paul Muni's "Scarface") is great in a supporting role. In fact, some would say she steals the show, because the viewer thinks of her even when she's not on the screen, due to circumstances I'm not going into. Barry Sullivan, who was frequent costar of Lana's, is on hand with his shoulder for Lana to cry on.

For such an unknown movie of Lana's, one would think is just a hum-drum black-and-white movie. But, "A Life of Her Own" is a very well-written and insightful film which provides a mature approach to a woman's life at an older age, who is trying to find herself and what she really wants out of life, and what she doesn't want.

An added plus which most reviewers have already alluded to, is the great music score to this film. It makes Ray and Lana's scenes feel very intimate. But when reality hits and she meets the wheelchair-bound wife. it does get rather depressing and downbeat. But the ending is very soothing, as she "is herself" with Barry and visits the view one more time of Ann Dvorak's old apartment building and where she doesn't want to wind up. It's a shame to think only Lana fans would be attracted to this film. It's one for all those who want something intelligent and for people, who though older and not quite settled, are still yearning for "a life of their own."

Lana Turner heads an excellent cast in "A Life of Her Own," a 1950 film directed by George Cukor. Its other stars are Ray Milland, Louis Calhern, Margaret Phillips, Barry Sullivan, Tom Ewell, Ann Dvorak, and Jean Hagen.

Both the beginning of the film and the end are the best parts; the in between is incredibly slow. Turner plays a young woman from Kansas who comes to New York to break into the modeling business. She meets what could be her future if she's not careful: a washed up, alcoholic, desperate has-been, beautifully portrayed by Ann Dvorak. No need to tell you what happens there - you've seen it a million times.

As her career progresses, Turner meets a married millionaire, Steve, played by Ray Milland. She knows he's married and it starts off platonically enough. But, as we learn what seems like hours later, he's a lot more than married.

This is a great cast, right down to the smaller roles, which includes Phyllis Kirk, one of my favorites, and Hermes Pan, who so often worked with Fred Astaire on choreography.

Turner is excellent and has some fine dramatic scenes; Milland is handsome and sympathetic as her boyfriend. Margaret Phillips, as his wife, does a marvelous job, and Tom Ewell is a joy. Actually, everyone is very good.

Alas, there's not much of a script here and you know what's going to happen along the way. The very end shows Cukor's directing mastery. Given what he had to work with by way of a script, it's a very well done movie. I shudder to think what it would have been like in someone else's hands.

Lana Turner fresh off a two year "break" in film-making, returns to the screen with MGM and George Cukor. Her time off (due to suspension from refusing MGM's crappy scripts) resulted in a marriage to multi-millionaire Bob Topping and the resulting (and slightly double-chinned) effects of partying and drinking champagne for the duration.

She's supposed to be a "fresh-faced" model from a small town who makes it big in NYC. It's quite a stretch at her age (30)since the role belongs to a MUCH younger actress, but she IS Lana Turner and still beautiful. But don't expect an explosion of Cukor's magic combined with Lana's beauty; it's not happening.

This movie is watchable if you love Lana or Cukor, but the real draw in this film is Ann Dvorak. She plays a washed-up, alcoholic and depressed super-model who mentors Lana briefly upon her arrival in the Big Apple and she steals EVERY scene she's in. The first 20 minutes of this film are the best and belong to Ann Dvorak all the way.

Ray Milland is sleepwalking, boring and unbelievable as the married man smitten with Lana. Not to mention that someone who looks like Lana would hardly be attracted to him! But his wheelchair-bound, suffering and loving wife is played beautifully, deeply and touchingly by Margaret Phillips in one of her only 3 film roles. She is so good that she actually inspires Lana to "act" in the scene they share (gasp!). Barry Sullivan can always be relied upon to play the creepy guy and Lana gets off some good n' nasty verbal shots at him.

There's definitely some glamour moments, but they are far too rare. As George Cukor had noted during filming, costumer Helen Rose was "bereft of talent" and Lana wears some of the geekiest looking and unflattering outfits. But every now and then a mink coat, the right angle and lighting and some stylish camera work highlight the magic of director Cukor and star Turner. But poor Sidney Guilaroff must have been on valium; watching the tight curls on the the side of Lana's head multiply, shrink or stare at you like a group of peonies is part of the show.

The original ending was met so badly at pre-release screenings that a new ending was filmed later on command of the studio. Could it really have been worse than the one released?!?!!