A real tearjerker features Hudson as a successful doctor who comes across Borchers, the wife he had abandoned years before. While a medic during the war, he fell in love with and married the German Borchers. In a jealous rage, he walked out on her, taking their young baby with him. Attempts at further communication failed when she was caught behind the Iron Curtain and arrested. When Borchers sees Hudson in the Chicago cafe where she is working for Sanders years later, she runs into the street and is hit by a passing truck. Hudson performs an emergency operation on the woman, creating a reconciliation in the process. Attempts at bringing Borchers together with her … —TVguide.com
Jerry Hopper (July 29, 1907 – December 17, 1988) was an American film and television director, active from the mid-1940s through the early 1970s.
He was an editor at Paramount Pictures before moving to the directors’ chair for several installments of their Musical Parade series (1946–48). Hopper went on to direct feature films, such as, The Atomic City (1952), Secret of the Incas (1954), and The Private War of Major Benson (1955), the later two with actor Charlton Heston. In 1958 he directed Brandon De Wilde and Lee Marvin in The Missouri Traveler.
He then moved primarily into episodic television, helming a notable number of episodes from “Bachelor Father”, “Wagon Train”, “Gunsmoke”, “The Addams Family”, “Burke’s Law”, “Perry Mason”, “The Fugitive”, “Gilligan’s Island”, and “Voyage to the Bottom of the Sea”, among many, many others. —Wikipedia
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
The credited director of this film is Hopper who helmed the Chuck Heston potboiler Secret Of The Incas which interestingly was an influence for the look of Spielberg's Indiana Jones character. However, Sirk did some preparatory work on the project and also directed some scenes. The film clearly shows his touch and though not in the same class as his solo projects it is very enjoyable for fans of the melodrama genre..