I mean the world and his wife can see that Gavin and Miles belong together.
Psycho or no psycho.
50's and 60's Hayward vehicles were reduced to remakes of BW classics, using whichever Hayward bits the studio wanted - the flung back head in an embrace or sudden pride, the forever widening spiky lashed stare, the thrusting chubby jaw with grabby arms and the apparently coveted chest.
Hayward is relentlessly late forties in every movie I've seen and I am constantly amazed that the most beautiful of leading men .. YOUNG leading men, are seen to be immediately drawn to this stuffy matron who within implied minutes is opening legs for true love. Hayward 's excuse is passion, ahem, methinks that is a stretch. If you tell a lie often enough people think it fact, as with Hayward's ability to draw interest. I feel the director was the only one who saw Hayward's emperors clothes. Or Hayward had some goods on the studio.
Hayward always seems to be doing an impression of a passionate lovelorn woman and it is fake af. Miles on the other hand passes for a flawlessly privileged deb who, jealous of the children's affection for Gavin breaks the Hayward monotony, downing vodka by the litre while spitting threats like a seasoned shrew. Tbh, the whole movie would've fared better if told from Miles POV but I digress.
Back Street 1932 and Back Street 1941 excelled in Hurst's tale of self sacrifice and devotion. One word - shame. Hayward is too independent and pushing feminism in male professions, Hayward is capable, self sufficient and childless. So, no 'back' street embarrassment here. Infact after home wrecking, Hayward positively blooms while cosseted in a lush nest that is no where near a back street since Gavin's kids turn up promptly and unchaperoned for a final handout. This, apparently, is supposed to outshine the heartbreaking climaxes in the original stories, when the characters made unselfish moral choices and the audience felt it.
I now avoid Hayward on screen like the plague, though the accidental turn in Valley seemed like a comedic karmic gift after years of suffering Hayward's heavy handed histrionics.
Psycho or no psycho.
50's and 60's Hayward vehicles were reduced to remakes of BW classics, using whichever Hayward bits the studio wanted - the flung back head in an embrace or sudden pride, the forever widening spiky lashed stare, the thrusting chubby jaw with grabby arms and the apparently coveted chest.
Hayward is relentlessly late forties in every movie I've seen and I am constantly amazed that the most beautiful of leading men .. YOUNG leading men, are seen to be immediately drawn to this stuffy matron who within implied minutes is opening legs for true love. Hayward 's excuse is passion, ahem, methinks that is a stretch. If you tell a lie often enough people think it fact, as with Hayward's ability to draw interest. I feel the director was the only one who saw Hayward's emperors clothes. Or Hayward had some goods on the studio.
Hayward always seems to be doing an impression of a passionate lovelorn woman and it is fake af. Miles on the other hand passes for a flawlessly privileged deb who, jealous of the children's affection for Gavin breaks the Hayward monotony, downing vodka by the litre while spitting threats like a seasoned shrew. Tbh, the whole movie would've fared better if told from Miles POV but I digress.
Back Street 1932 and Back Street 1941 excelled in Hurst's tale of self sacrifice and devotion. One word - shame. Hayward is too independent and pushing feminism in male professions, Hayward is capable, self sufficient and childless. So, no 'back' street embarrassment here. Infact after home wrecking, Hayward positively blooms while cosseted in a lush nest that is no where near a back street since Gavin's kids turn up promptly and unchaperoned for a final handout. This, apparently, is supposed to outshine the heartbreaking climaxes in the original stories, when the characters made unselfish moral choices and the audience felt it.
I now avoid Hayward on screen like the plague, though the accidental turn in Valley seemed like a comedic karmic gift after years of suffering Hayward's heavy handed histrionics.