86/100 (Adeta tiyatrodan çıkmış gibi hissediyorum. Oyunculuklar, tasarım, diyaloglar bu ciddiyeti belli ediyordu. Ben filmi soluksuz, aynı zamanda gerilerek izledim. Küçük Mary karakterinin kötü olmasının fazla abartılması özellikle o şantaj sahnesindeki uçukluk gibi. Filmin en kötü yanıydı diyebilirim. Ayrıca Homofobi eleştirisi çok yetersizdi. Yine de kitap gibi bir filmdi. Bitmesini hiç istemedim...)
With this film and during the timeframe it was made, there is a sense of realism at play. The lack of acceptance the two women go through under the false pretenses sends a wave of hatred that is seen even in today's standards. The movie tackles many issues that most refuse to acknowledge and does it in an artistically pleasing format and I think without Shirley MacClaine's performance this film would've fallen flat.
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.