A demonstration that (authentic) melodrama and its concomitant spectatorial affect, typically a recognition that is really an anamnesis, is always a formal pattern and a proof (if proof be needed) that the Platonic strain (Borzage, McCarey, Peter Ibbetson, some Ford) in classical Hollywood filmmaking was structural avant la lettre!
A very personal film. Sometimes a bit heavy handed, but Colman and Garson keep the proceedings intriguing. Always loved Greer, a real beauty who could act, rare. With she and Colman, this may be the most eloquently spoken film from the golden age of Hollywood. Peters is good here as well, very sad to read about her personal life and struggles after this high point. A good film, that just misses being great. 3.5 stars