Mariage moderne

Joan Fontaine was hardly the right choice to play a Bronx housewife and yet, opposite newcomer Mark Stevens, she gives a sensitive, believable performance as a young woman coping with poverty, marriage and the adjustments that have to be made when hubby returns from the war. Small in scale when compared to films like 'The Best Years of Our Lives' which dealt with these kind of problems on a broader canvas. And yet, the realistic sets and the sincerity of the leading players does a lot to make this modest film both watchable and absorbing.

Rosemary DeCamp, Harry Morgan and Bobby Driscoll are fine in the chief supporting roles. The soap opera effects that might have ruined this sort of story are missing--instead it settles for an honest treatment of post-war problems faced by many young couples in the '40s.

Mark Stevens would later play Olivia de Havilland's husband in 'The Snake Pit' with even more success. (Joan Fontaine's sister, in case any of you don't know it!!)

Joan Fontaine and Mark Stevens make a wonderful newly-wed couple struggling with the daily ups and downs of life in pre-WWII and at the start of US involvement. Joan Fontaine makes a totally believable young wife who deals with unemployment, poverty, and the struggle to survive in the Bronx. Miss Fontaine, in a break from her shy wife roles, completely captivates the mood of the story and shows her versatility as an actress. She is wonderful in her role. Mark Stevens is wonderful,too,as her husband whose doubts about supporting his wife and his struggle to gain employment are sincerely portrayed. The film is based on a novel "All Brides are Beautiful". This film could have easily become a real "downer" but instead it inspires hope and faith in the human spirit. I highly recommend this film.

Good example of studio films from the forties. A love story,but also a history lesson on the labor unions trials and problems of getting a foothold in industry.True to the novel, Mark Stevens and Joan Fontaine are perfectly cast.

"fRom this day forward " looks like Wyler's 'best years of our lives " released the same year,a "best years" in miniature .

The main difference is that Wyler's work took place after the war whereas Berry's movie is part past (the year before the war) and part present (Mark Stevens'coming home) It also deals with the difficulties the soldiers come across with when they return to a country that has sometimes forgotten them.

The best scene,however, is to to be found on draft morning:the couple had put the alarm clock forward and forgotten it;the G.I. did not even have a breakfast (the cupboard is bare anyway);through the window ,Fontaine tries to make her husband come back:there's something of Frank Borzage in this sequence ("seventh heaven" "street angel".)

Although Stevens' presence on the screen is at least as long as that of Fontaine's ,he is granted a "and introducing...." -it was his debut- and Joan Fontaine is the only name before the title of the movie.

I was seduced by this film . First , for its direct, fresh and charming honesty about marriage, love, prudence, difficulties and fair answer to them, models, large family and impact of decisions. Second for precise social portrait of a significant slice of history . Not last, for sweet performance ( and chemistry ) between Joan Fontain and Mark Stevens. And, indeed, for some ingenuity and delicate humor , precious ingredients of old Hollywood.

The story of a young couple- she - librarian, he- lathe operator. The economic crisis , the WWII, his return home are the frames for changes and tests , looking for job and definition of the love between them. The main virtue - a form of courage in exploration of sensitive aspects. Good point - the performance of Harry Morgan as Hank and, sure, his very provocative mother.

In short, delightful.