The End of the Affair

on May 03, 1955 by BOXOFFICE Staff
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To transcribe to the screen one of Graham Greene's widely read novels of man's groping for spiritual faith and religious guidance requires skill and more than a normal amount of delicacy and tact. Those qualities are abundantly apparent in this British-made entry, which appears destined to enjoy a reasonably prosperous exhibition career in this country, particularly if merchandising attention is directed toward the two top cast names and the picture's literary derivation. The overall tone, however, is on the grim and heavy side, and it's possible that ticket buyers whose preference is for somewhat lighter celluloid entertainment may become restive, inasmuch as there are only a few scattered touches of comedy relief. The film's running time and the painstakingly authentic backgrounds (it was made entirely in London and environs) indicate top-side slotting in dual-billing situations.

   As has come to be expected in the better grade of English imports, the acting throughout--from topliners on down to bits--is excellent. There is a depth and sensitivity in Deborah Kerr's portrayal, while Van Johnson, in a role markedly different from and more mature than his usual run of assignments, is capable and convincing. The directorial chore was entrusted to an American megaphonist, Edward Dmytryk. While necessarily slow-paced, it reflects an intelligent grasp of the subject at hand. The feature was produced by David Lewis for David E. Rose Productions.

CATCHLINES:
   Was This the End of the Affair...Or Just the Beginning?

   Love That Knew No Bounds

   What She Gave Him She Had Given Others...And Could Give to Others Again.

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