The story of a young woman, Helen Banning, who travels to Munich in search of life experience and romance. While working for America House, she meets a famous symphony conductor, Tonio Fischer, and begins a relationship with him. She soon finds out there is much more to this man than his music, including a wife Reni Fisher, but there’s definitely more to the story, which she soon discovers. While dealing with the experiences life has thrown in her way, she is also being courted by Morley Dwyer a doctor from back home, who is currently practicing medicine in a Munich hospital. Who will she choose? —IMDb
The film director Douglas Sirk, whose reputation blossomed in the generation after his 1959 retirement from Hollywood filmmaking, was born Hans Detlef Sierck on April 26, 1900, in Hamburg, Germany to a journalist. Both of his parents were Danish, and the future director would make movies in German, Danish and English. His reputation, which was breathed to life by the French nouvelle vague critiques who developed the “auteur” (author) theory of film criticism, casts him one of the cinema’s great ironists. In his American and European films, his characters perceive their lives quite differently than does the movie audience viewing “them” in a theater. Dealing with love, death and societal constraints, his films often depend on melodrama, particularly the high suds soap operas he lensed for producer Ross Hunter in the 1950s: Magnificent Obsession (1954), All That Heaven Allows (1955), and his last American film, Imitation of Life (1959). (Sirk’s favorite American film was the Western… read more
During the 1950's at Universal Sirk remade in colour some of John M. Stahl's hits for the studio from the 1930's. He had major successes with his updates of Magnificent Obsession and Imitation Of Life but this third film, a remake of Stahl's When Tomorrow Comes, wasn't quite on the same level of achievement. Allyson and Brazzi are a little bland in the lead roles but as usual with Sirk the film is visually splendid..
June Allyson didn't grow into Jane Wyman, so the film lacks Sirk's usually sturdy centerpiece, but this is still one of his wildest and most beautiful films. The classical elements bring out some of the master's fiercest and most striking compositions and scenes.