I'm surprised to see so many praising this film despite all its faults. I agree with the N.Y. Times review which states: "It is diluted by an overly saccharine treatment and a wealth of incidents not particularly germane to its main theme...too often, it lapses into soap opera."
JANE WYMAN and VAN JOHNSON, both respectable enough actors, are a strange combination in the leading roles. Jane seems to be recycling her "Johnny Belinda" look of sweet smiles and shy glances, never being more than a drab little wren which makes you wonder what Van Johnson sees in her in the first place, especially since he is such a complete extrovert. His cheerfulness is a much needed element during the romantic episodes in the film.
Unfortunately, the weak, literal ending with the coin materializing again, rings false and hollow.
Both Wyman and Johnson have been so much better in other dramatic roles, so it's a pity they couldn't have clicked here. But they are defeated by a screenplay which makes the viewer unsympathetic to the self-absorbed, withdrawn Wyman much of the time, who plays a woman who must attend to her sick mother after a day's work at the office. She barely ever registers anything but a weak attempt at a smile until Johnson gives her a sense of freedom.
The film remains a strange fantasy when it should have been a simple tale of a girl and boy falling in love before he is shipped overseas. Occasional tender moments are not enough to overcome the saccharine qualities forced onto the story.
Even some good supporting roles aren't enough to sustain the mood of this uneven blend of romance and the supernatural.
The literal emergence of the coin at the end is more problematic than believable.
JANE WYMAN and VAN JOHNSON, both respectable enough actors, are a strange combination in the leading roles. Jane seems to be recycling her "Johnny Belinda" look of sweet smiles and shy glances, never being more than a drab little wren which makes you wonder what Van Johnson sees in her in the first place, especially since he is such a complete extrovert. His cheerfulness is a much needed element during the romantic episodes in the film.
Unfortunately, the weak, literal ending with the coin materializing again, rings false and hollow.
Both Wyman and Johnson have been so much better in other dramatic roles, so it's a pity they couldn't have clicked here. But they are defeated by a screenplay which makes the viewer unsympathetic to the self-absorbed, withdrawn Wyman much of the time, who plays a woman who must attend to her sick mother after a day's work at the office. She barely ever registers anything but a weak attempt at a smile until Johnson gives her a sense of freedom.
The film remains a strange fantasy when it should have been a simple tale of a girl and boy falling in love before he is shipped overseas. Occasional tender moments are not enough to overcome the saccharine qualities forced onto the story.
Even some good supporting roles aren't enough to sustain the mood of this uneven blend of romance and the supernatural.
The literal emergence of the coin at the end is more problematic than believable.