Another rebuke to pioneering queer film historian Vito Russo's understandable but short-sighted focus on "positive representation," a melodrama that wobbles but finally devastates. Not as fine as Sirk's masterpieces of that genre or Wyler's great BEST YEARS OF OUR LIVES, but its refusal to spare its heroine, or us, the murderous cruelty of dominant homophobia lends it at least a rare and affecting MORAL fineness.
I've been telling myself that since the night I heard the child say it. I lie in bed night after night praying that it isn't true. But I know about it now. It's there. I don't know how, I don't know why. But I did love you! I do love you! I resented your plans to marry. Maybe because I wanted you. Maybe I've wanted you all these years. I couldn't call it by before, but maybe it's been there since I first knew you.
Miles ahead of it's time, this Wyler picture is another portrait of beauty and pain. More about the two women and Garner, and less about the school and the manipulative girl, it aptly explores secrets that are revealed and cannot be forgotten, like love and sexuality.
I love this film because its a powerful moment for many reasons. For the sake of cinema during a time of censorshipIts also a representation of two acclaimed actresses, who consciously or unconsciously telling the story of discrimination of 1950s straight laced america. Whether the characters they're portraying are actually same sex oriented is irrelevant really.It makes a statement nevertheless
Bold (especially considering when it was made) and powerful character drama from director William Wyler, from the play by Lillian Hellman. Excellent performances - for the most part, both Shirley MacLaine and Audrey Hepburn had their over the top moments. The editing was a bit choppy at times, and the second half seemed to lack some energy - but this is a fascinating film.