Based on the reviews here on IMDb, I was sure "Til the End of Time" would become a new favorite of mine.
I mean absolutely no disrespect to the servicemen who have commented on this film, but I can only assume they have never seen "Best Years of Our Lives", a film so superior to "Til the End.." that the suggestion that these two films are even close in quality is just plain silly.
It seems that David Selznick loaned out two of his star properties--- Guy Madison (amazingly good-looking) and Dorothy McGuire-- to RKO for "Til the End"; I wonder if the deal required that they be paired as a romantic couple? They are possibly the WORST, mis-matched pair of lovers in film history; she looks old enough to be his mother, and that goofy hair-do makes her look even worse. McGuire was a classy, distinguished actress who would go on to roles much more suitable for her. But their relationship in this film was a real turn-off to me.
So was the slow-moving, meandering plot. I loved looking at all of the outdoor location shots, and the inside of Guy Madison's family home....but there was absolutely NOTHING compelling here. Dana Andrews and Harold Russell had REAL emotional/adjustment problems in "Best Years"; Guy Madison's most intense scene was his mother's unpleasant reaction when he mentioned the smelly foxholes he experienced during the war (as he chowed down on her super-duper, giant waffles). Big deal. (But I liked Ruth Nelson's dignified performance as Guy's mother).
True, the scene with the shell-shocked soldier was moving and even harrowing----but that's the ONLY thing in this film that matches the heartache and intensity of "Best Years". But the shell-shock episode occurs in the middle of the big ice-skating scene; what the heck was THAT supposed to be about?? A chance for the young tart-next-door to show off her skating skills? And what about the dance scene in "Scruffy's" tavern--- what the heck was THAT supposed to be about?? Just an excuse to display the tart-next-door's dancing talent? In fact, why was she in the film anyway? Just another element of the plot that goes absolutely nowhere.
And speaking of going nowhere, I waited for the longest time to see Bill Williams, one of the era's most underrated, attractive and capable young actors. Boy, was I disappointed! Here's the guy who's been crippled in the war (like the Harold Russell character in "Best Years"), and he's barely on screen for more than 5 minutes. His role had great dramatic and emotional potential-- a former boxer who lost his legs in the war.
But NO---Selznick probably demanded that the bulk of the film be spent following Guy Madison around, displaying his phenomenal good looks (but modest acting talents) while the really compelling story of Bill Williams was pushed into the distant background. A real shame.
The barroom brawl at the end seemed like an afterthought; great to see Bill Williams "catch the spirit" and start kicking some a_____, but it's too little, too late.
That leaves Mitchum, another fabulous screen-presence who also gets shortchanged in favor of Guy Madison and his old-maid love interest, along with the tart-next-door (who I understand ended up marrying director Dmytryk-- which explains her prominence in the film, I suppose). Mitchum's role and its importance in the plot should have been greatly expanded; it sure would have made this loser-of-a-film a whole lot more interesting.
Hope I haven't offended anyone's feelings. I had very high hopes for this film.
LR
I mean absolutely no disrespect to the servicemen who have commented on this film, but I can only assume they have never seen "Best Years of Our Lives", a film so superior to "Til the End.." that the suggestion that these two films are even close in quality is just plain silly.
It seems that David Selznick loaned out two of his star properties--- Guy Madison (amazingly good-looking) and Dorothy McGuire-- to RKO for "Til the End"; I wonder if the deal required that they be paired as a romantic couple? They are possibly the WORST, mis-matched pair of lovers in film history; she looks old enough to be his mother, and that goofy hair-do makes her look even worse. McGuire was a classy, distinguished actress who would go on to roles much more suitable for her. But their relationship in this film was a real turn-off to me.
So was the slow-moving, meandering plot. I loved looking at all of the outdoor location shots, and the inside of Guy Madison's family home....but there was absolutely NOTHING compelling here. Dana Andrews and Harold Russell had REAL emotional/adjustment problems in "Best Years"; Guy Madison's most intense scene was his mother's unpleasant reaction when he mentioned the smelly foxholes he experienced during the war (as he chowed down on her super-duper, giant waffles). Big deal. (But I liked Ruth Nelson's dignified performance as Guy's mother).
True, the scene with the shell-shocked soldier was moving and even harrowing----but that's the ONLY thing in this film that matches the heartache and intensity of "Best Years". But the shell-shock episode occurs in the middle of the big ice-skating scene; what the heck was THAT supposed to be about?? A chance for the young tart-next-door to show off her skating skills? And what about the dance scene in "Scruffy's" tavern--- what the heck was THAT supposed to be about?? Just an excuse to display the tart-next-door's dancing talent? In fact, why was she in the film anyway? Just another element of the plot that goes absolutely nowhere.
And speaking of going nowhere, I waited for the longest time to see Bill Williams, one of the era's most underrated, attractive and capable young actors. Boy, was I disappointed! Here's the guy who's been crippled in the war (like the Harold Russell character in "Best Years"), and he's barely on screen for more than 5 minutes. His role had great dramatic and emotional potential-- a former boxer who lost his legs in the war.
But NO---Selznick probably demanded that the bulk of the film be spent following Guy Madison around, displaying his phenomenal good looks (but modest acting talents) while the really compelling story of Bill Williams was pushed into the distant background. A real shame.
The barroom brawl at the end seemed like an afterthought; great to see Bill Williams "catch the spirit" and start kicking some a_____, but it's too little, too late.
That leaves Mitchum, another fabulous screen-presence who also gets shortchanged in favor of Guy Madison and his old-maid love interest, along with the tart-next-door (who I understand ended up marrying director Dmytryk-- which explains her prominence in the film, I suppose). Mitchum's role and its importance in the plot should have been greatly expanded; it sure would have made this loser-of-a-film a whole lot more interesting.
Hope I haven't offended anyone's feelings. I had very high hopes for this film.
LR