An Enormous Financial and Critical Failure of a Film.
Much Effort was Put into the Production but Only Partly Recognizable in the Drifting Script and Final Film.
Plenty of Melancholy and Mood Drowning the Screen with Rain and Tears.
It's 1938 on the Eve of WW2, and Paris is Rife with Immigrants, Strife, and Tension.
Ingrid Bergman and Charles Boyer Meet Under a Downpour of Despair.
The Film is Drenched in Darkness and Damped by Personal Circumstances Testing the Limits of the Human Soul.
Anticipation of the Worst from Nazi's on the Move, Combined with Iffy Love Making, Suicides, Murders, Amidst Crowded Confines.
The Suspense Ratchets Resulting in Impulsive Behavior and a Sense of Doom in Affairs of the Heart and Enhanced Law Enforcement.
Bergman is Stunning and Gives Her Usual All, While Boyer Struggles a Little but No Enough to Distract.
From the Melodramatics and the Outstanding Norish Cinematography that is Blacker than Black to Match the Tone of the Film that is Relentlessly Dark.
The Feeling and Aftermath of the War is Ever-Present in the Tone of the Production.
It is Suffocating with the Suffering and Pain Extremely Evident and Lingering.
Downbeat to Say the Least, Death, Near Death, Wanting to Die.
Is Persistent with the Characters Enveloped in a Wordy, Heart-Wrenching, Romance and Inescapable Meilu of Madness About to Close in On Everyone.
Tough-Going with a Strong-Heart-and-Stomach Required to Bare the Burden Along with the Characters and Story.
Louis Chalhern as Boyer's Friend Does Manage to be Upbeat Throughout as a Russian Refugee, a Strutting Doorman.
Charles Laughton is Virtually Wasted as a Nazi Torturer.
The Final Death-Bed Where the Doom and Gloom Scene seems to Go On Forever Could be Used as a Metaphor of the Previous 2Hrs.
For the Cinematography, Acting, and the Beauteous Look of Ingrid Bergman it's... Worth a Watch.
Much Effort was Put into the Production but Only Partly Recognizable in the Drifting Script and Final Film.
Plenty of Melancholy and Mood Drowning the Screen with Rain and Tears.
It's 1938 on the Eve of WW2, and Paris is Rife with Immigrants, Strife, and Tension.
Ingrid Bergman and Charles Boyer Meet Under a Downpour of Despair.
The Film is Drenched in Darkness and Damped by Personal Circumstances Testing the Limits of the Human Soul.
Anticipation of the Worst from Nazi's on the Move, Combined with Iffy Love Making, Suicides, Murders, Amidst Crowded Confines.
The Suspense Ratchets Resulting in Impulsive Behavior and a Sense of Doom in Affairs of the Heart and Enhanced Law Enforcement.
Bergman is Stunning and Gives Her Usual All, While Boyer Struggles a Little but No Enough to Distract.
From the Melodramatics and the Outstanding Norish Cinematography that is Blacker than Black to Match the Tone of the Film that is Relentlessly Dark.
The Feeling and Aftermath of the War is Ever-Present in the Tone of the Production.
It is Suffocating with the Suffering and Pain Extremely Evident and Lingering.
Downbeat to Say the Least, Death, Near Death, Wanting to Die.
Is Persistent with the Characters Enveloped in a Wordy, Heart-Wrenching, Romance and Inescapable Meilu of Madness About to Close in On Everyone.
Tough-Going with a Strong-Heart-and-Stomach Required to Bare the Burden Along with the Characters and Story.
Louis Chalhern as Boyer's Friend Does Manage to be Upbeat Throughout as a Russian Refugee, a Strutting Doorman.
Charles Laughton is Virtually Wasted as a Nazi Torturer.
The Final Death-Bed Where the Doom and Gloom Scene seems to Go On Forever Could be Used as a Metaphor of the Previous 2Hrs.
For the Cinematography, Acting, and the Beauteous Look of Ingrid Bergman it's... Worth a Watch.