Interlude (1957), Directed by Douglas Sirk

Thanks for the link, OP. Always looking for stuff like this on Youtube!

Enjoy R1.

And I forgot it has Keith Andes in it. Cute.

The leads are old school handsome real men with wonderful voices.

Keith's body

HUUUUUUNK

R6, stinky linky.

Poor Keith, his body riddled by cancer, took his own life.

June Allyson is just terrible, which is a big part of what makes watching this movie enjoyable!

She was aging out of those chipper ingenue roles she played in movie musicals; she did try, bless her, but she had the sex appeal of a pile of sawdust and no real dramatic range.

OMG I didn't know this existed. Imagine seeing it in Cinemascope!

I would lick Rosanno's shitter til he begged me to stop.

Rosanno. Good Lord. Delicious.

Rosanno had the most indulgent mouth, full and inviting. I first noticed this in [italic]Summertime[/italic].

And June had a receding hairline.

June wears a bizarre brassiere at 6.20.

Her mammaries are hoisted up into an unnatural location.

R14, I believed that they called them Dagmars or "bullet tit" bras. No? I noticed it too. I just can't see Rosanno wanting to pursue her, especially when his wife was so beautiful. I believed him and Hepburn together in [italic]Summertime[/italic] because Hepburn was a more skillful actress who could convey both sexual desperation and sexual ripeness at the same time.

Brazzi’s troubled wife in the film is played by the lovely Marianne Koch (billed as Marianne Cook’ at the time of “Interlude”). She was Clint Eastwood’s leading lady in “A Fistful of Dollars” and later left acting to become a physician. She is still with us today at 89.

She was pretty good in her part, I admit R16. Better than June even.

The one and only June Allyson. Some sexy vibes in this photo.

June with Rosanno in Interlude.

Plus Jane Wyatt and Frances Bergen (mother of Candice) — what’s not to love?

Yes, Frances is terrific and certainly much more beautiful than June Allyson......she's on the right in this picture.

I also really like her as Madelaine Astor in the Barbara Stanwyck-Clifton Webb version of Titanic.

^ Oh dear, Frances is wearing Dagmars too!

I was surprised to see Jane Wyatt's name so far down on the credits listing. She was still a popular actress then, wasn't she?

She was "television", dear.

This is just great. I love all Sirk’s melodramas, Magnificent Obsession Tarnished Angels Written on the Wind Bigger Than Life Imitation of Life, and a few by Minelli really stand out too. I’m thinking of Home From The Hill and Some Came Running...But I watched this right away. Thank you SO much.

How did they get Allyson’s waist cinched in like that? Did she have ribs removed? And why all the perpetual white, white, white blouses and dresses? Virgin symbolism?

What was the Douglas Sirk story?

A wooden leg? And did he know Leni Reifenstahl and the tycoons at Oofer?

For decades, this was the required reading in film studies courses treating Sirk.

R28 That 'Distanciation' sounds like Brecht's theories— that the audience should be constantly aware that they're watching something that's fake.

June looked very pinch-faced here---I wonder if it was a facelift or the wires in the wig alternative. She really was a horrible actress, even when given a showcase like this. She lacked the lacked the warmth and perky efficiency of Doris Day, no wonder Ross Hunter didn't adopt her. The theme music is just atrocious--Liberace-esque instrumental schmaltz followed by incongruous McGuire Sister harmonies. I'm sure it's no coincidence that Hunter and Sirk put the homo-erotic statuary in the first frame.

That was the idea. It was a useful way to "read" Sirk. If I remember correctly we were told, or I realised myself, that Sirk movies only deliver "1st degree" impact (not distanced, not critical, not ironic or cynical) in the moments of extreme excess. We are overloaded and experience real connection with the pathos or violence. For example the funeral in Imitation of Life, or several mini climaxes in Written on the Wind. A non-theoretical but very clever critic Roger Ebert wrote a good essay:

To appreciate a film like “Written on the Wind” probably takes more sophistication than to understand one of Ingmar Bergman's masterpieces, because Bergman's themes are visible and underlined, while with Sirk the style conceals the message. His interiors are wildly over the top, and his exteriors are phony--he wants you to notice the artifice, to see that he's not using realism but an exaggerated Hollywood studio style. The Manhattan skyline in an early scene is obviously a painted backdrop. The rear-projected traffic uses cars that are 10 years too old. The swimming hole at the river, where the characters make youthful promises they later regret, is obviously a tank on a sound stage with fake scenery behind it.

The actors are as artificial as the settings. They look like Photoplay covers, and speak in the clichés of pulp romance. Sirk did not cast his films by accident, and one of the pleasures of “Written on the Wind” is the way he exaggerates the natural qualities of his actors and then uses them ironically.

Well according to accepted opinion about Sirk, he would have chosen June knowing exactly what kind of physical and acting presence she would provide. I guess a scholar could research if June was forced upon him but I doubt it. Maybe.

June Allyson was a very popular actress regardless of what we think of her, the public enjoyed her very much. Go figure!

Brazzi, Salzburg, and some of the frocks (not Allyson's) are very beautiful.

June Allyson was christened Eleanor Geisman and I have never watched any of her stuff all the way through. Though this patchy movie (which looked as if it was sponsored by the German Tourist Board) held my interest.

R26 She was certainly naive for a 40 year old.

R23 Jane Wyatt was playing a 'bitch' role more suitable for Agnes Moorhead.

R12 Yes, he had a loose lower lip as if he's about to dribble saliva. I'm not sure if he's merely attractive or very attractive. He seems to have been interchangeable with Fernando Lamas in playing one-dimensional gigolos and Latin Lovers.

I downloaded this and burned a DVD to watch on my B I G screen......

June Allyson remained wildly popular throughout most of the 1950s. Many people associate her more with MGM's late 1940s musicals (1947's Good News was her best) but she was only getting started then. As much as Betty Grable was the pin-up girl for whom the GIs fought WWII, June represented the home town sweetheart for whom they all returned. Her page boy hairdo and Peter Pan collars were copied by teenagers as well as their middle aged mothers. She was relatable!

She had a surprisingly long and durable run, surviving her long-term MGM contract and starring in big Technicolor films for all the major studios. While her fame and popularity are near impossible to comprehend now, I can remember desperately longing for a set of June Allyson paper dolls around the time this film came out when I was about 7 or 8 years old.

Here’s “Interlude” costar Marianne Cook/Koch along with her “Four Girls in Town” costars, Gia Scala, George Nader, Julie Adams and the stunning Elsa Martinelli.

Get him, girls!

I made a mistake in one of my comments. “Bigger Than Life” was a Nicholas Ray meller. They all got in on the gold rush of big, technicolor soaps with huge box-office stars.

Esther Williams - who is a liar - did say one true thing. She made a movie at U-I after she left MGM and said she was paid as much for that movie as she earned in all of her years at MGM......

This is a bland woman's movie.

Nice-looking dresses, nice-looking scenery and two nice-looking, bland men for the woman to choose from.

The enormous Françoise Rosay gets wheeled on for a few very short scenes.

She doesn't get to do much at all; she doesn't even get a chance to do her somnolent closed-eyes routine.

I bet this movie was a 'busman's holiday'.

I bet Hans Detlef Sierck used this as an excuse to visit his homeland back in The Fatherland.

There are about 4 minutes of actual dramatic tension in the second half of this movie which, unfortunately don't forgive the other 86 minutes of Kirschtorten Schwarzwälder.

[quote]She doesn't get to do much at all; she doesn't even get a chance to do her somnolent closed-eyes routine.

She seemed to wring her hands a lot in this film, pacing back and forth, looking concerned.

I had a good friend of mine who disliked Allyson intensely as some of us here. He said that the only reason to watch [italic]The Three Musketeers[/italic] is to watch Lana Turner stab June to death in one of the more climatic scenes.

Did she get along well with Dick Powell's previous wife, Joan Blondell? I remember reading something way, way back that said they locked horns. I know someone here knows something.

I'm still not sure if Rossano is sexy or not.

I half remember him doing one of those peplum movies in the early 60s (when he was in his early 40s) wearing just a little 'sunga' exposing half his buttocks.

Françoise Rosay (of France) played the aunt to Rossano (who is Italian) and the story is set in Southern Germany.

There was something (which I didn't quite hear) in the film which explained all this.

R48: ...andd it’s probably not worth going back thru this rather tepid hash of a film to sort it all out. This ain’t “Written on the Wind”...

Eleanor Parker would have been a better fit for this role. Of course, it would have had to have been rewritten so the character wasn't so self-deprecating. A couple of times, June had to reject Rosanno Brazzi by saying things like, "you could have any woman you want" or "there are dozens of girls like me in America" to emphasize that even she knows that classic beauty is not her middle name. Parker would have been ideal - beautiful, somewhat starchy until the right man gets his hands on her. Allyson was a complete misfire in this. She was worse in [italic]The Shrike[/italic] though.

I've never seen The Shrike but I thought that June was supposed to be incredible in it, playing against type as an impossibly shrewish wife. Does the film have rights issues? It's never on TV as far as I can recall.

I know she has no fans here but there's a truly lovely TCM interview with June (probably from the early 1990s) where she comes across as a genuinely sweet, modest and caring person. She talks about all of her co-stars, including many of the ladies, with the highest respect and intelligence. I think it's still on youtube, sorry not to link it.

I have to admit I wished Helen had drowned in that lake at the end.

The Shrike is on YouTube in full.

Maybe she should have been more demanding for more diversified roles early in her career and backed it up with some serious dramatic training.

I think Allyson, had she complained to LB Mayer, would have been denied. MGM was very stingy with their musical stars. Judy Garland was only given one dramatic role in The Clock in all her years with the studio. June did some dramas early on there, Little Women, for one (dreadful btw!).

JUNE ALLYSON BLADDER PADS!!!!!

Thanks for posting "The Shrike": I'd never heard of it and thought Allyson was pretty good in it. The actress who plays Dr. Barrow (Isabel Bonner) was the wife of Joseph Kramm, who wrote the Pulitzer Prize winning play the film is based on. She had played the role on Broadway and on tour, and dropped dead on stage while playing the doctor in L.A. a few months before the movie was released in 1955.

Allison Hayes (50 Foot Woman) was mentioned in some of the early publicity for The Shrike. I'm not sure what role she would have played.

She must have been dropped by U-I by the time filming started. Here she is - with Abbe Lane - in Chicago Syndicate made the same year.

Oh....well the link gives you the whole page......sorry about that.

[italic]The Clock[/italic] is my favorite Judy Garland movie ever. She and Robert Walker made a great onscreen couple.

Judy was, of course, a brilliant dramatic actress. It was our tragedy that she wasn't cast in more dramas at MGM and think of how much easier they would have been on her to occasionally film.

June and Joan Blondell did not get along......

In a novel she "wrote" Blondell had the "June" character be a child hooker from the lower east side who was sex crazy and man hungry.....

In her autobiography, June wrote about Joan trying to get Dick Powell back after he had married June even though Powell had no interest in Joan......

Allyson's "Woman's World" co-star Van Heflin played the lead (IN PERSON) in the Chicago production of "The Shrike".

I found this to be rather itchy and downbeat. Mental illness? Infidelity? Moral ambiguity? Not our June!

Her winning smile belongs in something like "Three Coins In the Fountain".

The current and former Mrs. Dick Powells finally found themselves in the same film in MGM's remake of The WOMEN, THE OPPOSITE SEX in 1956. June was the lead, Joan was very much featured.

R57: he must have seen the rushes with June.

R60: They must have thought they were in group therapy at a looney bin, which I guess would have been comforting. What bizarre casting.

The normally temperate Donna Reed famously hated her because Allyson got roles she wanted toward the end of her MGM contract, including "The Stratton Story"---where Jimmy Stewart nixed Reed's casting because he blamed "It's a Wonderful Life's lack of Oscars and big box office on her. Sadly her scenes in the early part of "Wonderful Life" were the only watchable things in it. Reed was not someone who could carry a picture by herself, but given a decent script and competent castmates she could act unlike Allyson.

Not that I don't believe you, r67, but where is Donna Reed's "famous hate" of June Allyson documented?

My hate towards June Allyson is bigger than Donna Reed's.

“Thou Swell”!

R68: In the bio that was written about her about 20 years ago. The biographer managed to get a lot of friends and colleagues before they died.

Fun fact: Reed's return to television was a Ross Hunter produced tv-movie. It was a routine sudser co-starring that lifeless pile of balsa wood, Efrem Zimbalist Jr. By then Hunter had left the big screen after flopping with the horrible musical remake of "Lost Horizon" (written by the one and only Larry Kramer, with music by Burt Barcharach & Hal David--apparently the end of their collaboration). It was Hunter's last credit, according to wiki. My favorite Zimbalist scene was in one of the movies that inspired "Airplane" (his film was basically a cheap knockoff of the other movie that inspired "Airplane")----early in the film, he's checking out the new Edsel at his local dealership. Perhaps, it presaged the tragedy later on. Regardless it was probably the most unfortunate and funniest product placement ever.

that was "The Crowded Sky" R71. It also featured Troy Donahue......as Zimbalist's airplane mate.

Of course, it co-starred Troy Donahue. I'm surprised Connie Stevens or Diane McBain weren't featured. Warner's had some of teh worst contract players imaginable.

R60, that's Jennifer Jones's first husband, when she was "Phyllis".

Yes, but by then she was Jennifer Jones, freshly divorced from Walker, so she could marry David Selznick. Something was off about that woman.

Jennifer was a sad lady.

I get the dislike for June but Good News is one of my favorite musicals so I can't join in. 'I'll read my favorite book. Les Miserables.'

There is an interview with Bacall on youube with the interviewer a big Sirk fan gushing over Written on the Wind. She gives him a you have got to be kidding look and just says 'Suds.' She clearly doesn't want to hear anything about Sirk as a cult figure.

Like Bacall was a Davis or Hepburn...

Bacall was serviceable as an actress, but she got in the door based on her unusual beauty. They had to teach her a lot.

r71, I find your post a bit garbled.

Is the bio to which you refer one of Allyson or one of Reed? What's it called? Hard to believe either actress would have a bio written about them just 20 years ago or that there'd be many colleagues alive to interview for it..

And then you begin to talk about Donna Reed's TV comeback but go off on Efrem Zimbalist.....was this in the same film? The Crowded Sky (if that's what you're referring to re Reed) doesn't list her in the cast. So what's the Reed TV film?

Unlike MGM re Garland, Allyson and their other musical stars, RKO respected Ginger Rogers' talents and cast her in several non-Astaire films between each of the musicals, both comedies and dramas, and her career thrived.

Rogers got rather snooty after that Oscar GIFT and only wanted certain roles that provided dramatic heft that she wasn’t capable of. Turned down several parts that went to other actresses who had success with them.

After the Astaire/Rogers musicals (in which she introduced some of Gershwin, Berlin and Kern's best songs), Kitty Foyle and The Major and the Minor, Ginger was deservedly the highest paid actress in the world and deserved to be. Can you name another Hollywood actress whose career encompassed the range hers did by the age of 30?

It's fashionable these days to mock the "Great Lady" persona of her later career, but in her youth she really was hot.

r75=Norton Simon

[quote]I can remember desperately longing for a set of June Allyson paper dolls around the time this film came out when I was about 7 or 8 years old.

The gayest thing you will read today.

Counting George Nader, R39's picture should really be captioned Five Girls In Town!

[quote] Kitty Foyle

Mediocre movie. And Ginger gave a pedestrian performance at best.

While I agree with you, r87, KITTY FOYLE was nevertheless a huge critical and financial hit and Ginger was awarded an Oscar for it, which was considered a deserving and popular choice at the time, so my point is still quite valid.

Ok, r83, r88, I just disagree with you, that’s all. I’ve never cared for Ginger.

I have to agree with some of those posts here regarding June Allyson. I’m watching this movie now and this is definitely bottom drawer Sirk compared to Written on the Wind, All That Heaven Allows, Imitation of Life, etc.

Rossano Brazzi though - hawt

[quote] Rossano Brazzi

His nose is too long. He has zero chemistry with everyone else on set (perhaps he was ignorant of the English language)

what is going on with June's waistline?

Box office ranking / ...wiki

For a number of years exhibitors voted Allyson among the most popular stars in the country:

1949 – 16th (US) 1950 – 14th (US) 1954 – 11th (US) 1955 – 9th (US) 1956 – 15th (US) 1957 – 23rd (US)

R92, a girdle, maybe?

R92, it's a corset to hold in all the alcohol bloat on the poor thing.

R80: What a trial you are. It was a bio of Reed, who was a generally lovely person with more integrity than that hussy, June.

Trying to restart your career with vehicle that has Zimbalist as a co-star provides it own invitation to make fun of such a lifeless performer like Zimbalist.

Hunter's stock in trade was taking actresses past their prime and giving them sudsy starring roles. Allyson was well on her way to being where Wyman had been a few years before. It wasn't long before Allyson wound up on television with an anthology series produced by her husband.

To her credit, June admitted that she didn’t know why she was a big star. Because she wasn’t really pretty and didn’t have a good singing voice. She knew this but played the game. She never really had a challenging role. Even in this film, anyone else could have played the lead. She was…cheerful and perky and I guess audiences wanted that from her. I can only take her in small doses. That grating, raspy voice. It should have been sexy. On Patricia Neal, Barbara Stanwyck and even Jean Arthur, it was. On June, it was nails against the chalkboard. And she had a Bit of a speech impediment.

[quote] She never really had a challenging role

What about this?

I've only fast-forwarded through it because both of the stars repel me. The opening credits suggest it's about a castrating female.

She wasn’t up to the challenge r98.

But I must say that I love the opening credits r98. Thanks for posting.

Me too, R100.

Also, as for June (and her limitations), there’s always this… definitely the highlight (?) of a misguided, messy movie.

Little Junie was dubbed the "Remake Queen" because of the all the rebooted classics of the 30s she starred in. Needless to say, all paled in comparison with the originals, although they were in Technicolor.

The Opposite Sex (1956): a remake of The Women (1939), with June in the Norma Shearer role and Joan Collins in the Crawford role.

My Man Godfrey (1957): a remake of the Carole Lombard 1936 classic, with David Niven in the William Powell role. Produced by Ross Hunter.

You Can't Run Away From It (1956): a remake of It Happened One Night, with Jack Lemmon (of all people!) in the Clark Gable role opposite June in Claudette Colbert's role.

Little Women (1949): she followed Katharine Hepburn's 1933 classic as Jo, with Elizabeth Taylor, Margaret O'Brien and Janet Leigh as her sisters.

Her speesh impediment wash shimilar to mine..

Just for the record, I loved June Allyson. I found her uncomplicated all-American wholesomeness quite appealing. I met her in person when she was doing a promotional tour for the DVD release of MGM musicals, and she was quite lovely.

PS Her archetype was "the girl next door" which was how I saw myself for many years. When she played against that type, she didn't do very well.

I liked June in Little Women

R32

[quote] with Sirk the style conceals the message

I didn't think Sirk had a message except lurid sensationalism.

The Shrike originally had a meaner, less forgiving ending. I enjoyed the film.

However after that string of flop remakes, June's drinking - and Powell's health - got worse. Did you ever see the outtakes of her drunken appearance on The Judy Garland Show? When you have Judy Garland glaring at you for drinking too much....forget about it.

Still, she was incredibly appealing and I find her performance in Little Women to be just lovely and mature. It was a big hit. The Glenn Miller Story was an enormous hit as well, she was as responsible as Jimmy Stewart and the music at a time when people were staying home to watch tv. She was quite fun in the all-star Woman's World as well.

Judy in the made for television opus CURSE OF THE BLACK WIDOW…

JUNE ALLYSON NOT JUDY.

It's worth watching at least the opening credits at R109. Roz Kelly as "Flaps"!!

R102 “Interlude” is also a remake of a 1930’s soaper entitled “When Tomorrow Comes” that starred Irene Dunne and Charles Boyer. Both were adapted from a James M. Cain novel.

Sirk R27, though he was Aryan, was anti-Fascist and had married a Jewish actress Hilde Jary while his ex-wife was pro-Nazi. Their son from the first marriage, Krause Sierck his only child, was barred from seeing his father. Klaus became a big juvenile star in Germany during World War II but was killed in 1944 in the last months of the war. Sirk never saw his son and he emigrated to the U.S. in 1937.

[quote] Sirk never saw his son and he emigrated to the U.S.

But Sirk obviously hankered for his homeland by making this June Allyson stinker in Munich in 1958 and he lived in Munich making films "Sprich zu mir wie der Regen" and "Sylvesternacht" in the 1970s.

R109 Ii is obvious from the credits of that TV movie that June joined Jane Wyman and Claudette Colbert in the “I’ll keep the same outdated hairstyle until I die and they bury me in it” club.

Another TV movie “They only kill their Masters” provided an even bigger dramatic stretch than “The Shrike”. June plays a homicidal lesbian married to Hal Holbrook!?!!

Our June took so many risks, didn't she?

Those bangs were a risk, but they paid off!

That prison matron hairdo. It's like you're just waiting for her to slap on those rubber gloves to finger a lady convict.

Claudette kept her hairdo the same because it didn’t age her. From the late thirties through the fifties it’s sometimes hard to tell what year the photos were taken.

Claudette kept her hairdo the same because she couldn't do it any other way.

She would be hopeless with today's fashion for Dangling Tendrils.

This was the last in a trend of films like Magnificent Obsession and All that Heaven Allows where really hunky guys like Rock Hudson and Brazzi fall madly in love with mousey older women like Allison and Wyman. A perennial house frau fantasy. Sorta the 50's version of Fifty Shades Of Grey. Boffo BO.

[quote] a trend of films

I think this one is superior to the others.

R121, this, to me, was Hepburn’s best performance on film.

Yes. And the joke's on Brecht because I find the "Caucasian Chalk Circle," "Mother Courage" (MARY!) and "Life of Galileo" emotionally engaging and have suspended my disbelief in good productions of them no matter what expressionistic tricks he inserted.

Playwrights may manipulate, plot and scheme, but they cannot dictate an audience's part of the creative process.

I don't understand what you're saying, R123 (and R28, R29.

On one hand you say the playwrights can't dictate an audience's reaction. But on the other hand, you say you've had some good audiences reactions.

The audience can't react if the playwright didn't write a play. On the other hand, I've seen enough Brecht to know I will avoid him (unless there's a capable star amongst the actors).

R120 Bobcat in the sack.

R101 how wretched is this?

R126 It is intensely wretched!

[quote] I find the "Caucasian Chalk Circle," "Mother Courage" (MARY!) and "Life of Galileo" emotionally engaging and have suspended my disbelief in good productions of them no matter what expressionistic tricks he inserted.

R123 Did those productions have some well-known beloved stars to transport you into a state of disbelief?

I suppose it could be been worse.

Hitchcock could have cast June in one of his fifties films.

Can you imagine her in REAR WINDOW, TO CATCH A THIEF or NORTH BY NORTHWEST?

I'd like to imagine her getting stabbed in "Psycho."

You can see Klaus in KOPF HOCH, JOHANNES (41)! He's a 16 year-old blond Twink, who goes to a VERY homosocial Nazi military cadet academy. Of course, he thrives there, and is ready to die for Hitler when he graduates. There are shower and gym scenes for those who like that sort of thing. Available in a 35mm print from an outfit called International Historic Films.

Klaus's tragic death weighed enormously on Sirk, and he made A TIME TO LIVE AND A TIME TO DIE (58) as a kind of catharsis.

June Allyson looked and talked like an old lady even when she was young.

June Bug couldn't have been loaned out when she was at MGM because she was too fucking busy and too busy fucking.

Was June a graduate of Our Lady of The Divine Hummers like fellow minimally talented Nancy Davis Reagan?

Any cock?

Never heard of KOPF HOCH, JOHANNES before but R131's description was enough to make me interested in it - love those old homoerotic propaganda movies! I'm downloading the film as I type (if anyone else is interested in watching it you can downloaded it for free at the link below, with english subtitles included) .

^ Can some nice DLer do screen caps of the shower and gym scenes.

I enjoyed watching this film, OP. Now I'm going to give this one a go starring the marvelous Oskar Werner.

In her book on Hollywood stars, Jeanine Basinger explains that the appeal of June Allyson was that she was the girl next door. the studio had so many glamour gals like Elizabeth Taylor and Arlene Dahl who seemed unattainable to most men, and Allyson seemed like the sort of girl you could actually get as a normal person 9she was advertised by MGM as "The Perfect Wife").

Weirdly, in real life she was the opposite: she and Dick Powell were considered a real power couple in the early 50s and part of the Jet Set.

Was she really a boozing strumpet like some have said?

This film is lovely to look at but it has a problem with continuity and nonsensical situations.

Taking June out from work for lunch for an hour ends up deep in the countryside for a picnic. Then they flee the rain to Brazzi's country home (what about returning to work?)

Then there is the threat that the house may wash away into the rising river "in the hardest rain in 40 years." But the house is older than 40 years. So many screw ups like this.

But I did enjoy watching it.

.

The film at r138 is a variation on the same theme. Lovely film IMO. Beautiful music and scenery set in London. Oskar Werner delivers per usual.