A masterstroke: in The Good Fairy, Wyler uses a rare close-up when Herbert Marshall rejects Margaret Sullivan. It's a bog-standard rom-com second act curtain moment, the lovers' quarrel. But this one shot of an anguished Sullivan, using the visual language of tragedy in a light romantic comedy, gives the story the emotional weight needed for the audience to care about the outcome. Remove it, and the continuity will still work, but we will not care.
David Cairns
avril 15, 2005