Eternal Romantic Classic: ‘Brief Encounter’ 1945

A railroad track cinder in the eye brings two people together, Celia Johnson
& Trevor Howard, in 1945's "Brief Encounter."

 

I can now check another classic film off my popcorn bucket list: 1945's Brief Encounter.  I have no real explanation as to why I have waited so long to see this romance classic. The British film never seemed to be on TV during my movie watching youth. Then a beautiful copy of Brief Encounter popped up on YouTube and I thought, "Oooh, I should watch this."

That’s the understatement of the century, right? Noel Coward’s Brief Encounter is many amazing things: a snapshot of an era; a simple but universal story; nostalgic but timeless; and superb storytelling with some subtle surprises.  

There are a number of moments that caught me off-guard in Brief Encounter. I think that's because I grew up watching American classic movies. As the story of Brief Encounter is about an extramarital affair, I had preconceived ideas as to how the story would play out. If this mid-‘40s film had been made in golden age of Hollywood, the stars would be impossibly gorgeous, suffer selflessly, with noble or judgmental dialogue to appease the almighty censors. And maybe a car crash at the finale, to punish the sinners.

Celia Johnson and Trevor Howard are superb as the extramarital lovers of 1945's

 "Brief Encounter." 

Here, Celia Johnson and Trevor Howard play two seemingly happily married people, Laura and Alec, who fall in love after a chance meeting. These two ordinary people randomly keep bumping into each other, without a Max Steiner score to trumpet the growing attraction. Eventually the two share lunch and a movie together, enjoying each other’s company. This leads to more meetings. He's a doctor, she's a housewife. In a Hollywood version, even if their occupations were the same, they would suffer in glamour, not at a gloomy train station diner. The same year, Gene Tierney and Cornell Wilde romanced in luxury, starting as strangers on a lavish train in Leave Her to Heaven. The restraint of the married lovers in Brief Encounter actually raises the tension. The couple never consummates their love, though they come close. There are no fireworks or waves crashing to suggest otherwise, just a great deal of romantic tension and yearning. Eventually, the couple decides to break off the romance, before they cause real damage to their marriages. The finale is a real tearjerker, in every sense.

There was much location shooting for 1945's 
Brief Encounter, especially impressive since WW 2 was still on.

Without totally giving anything away, there were a number of subtle moments and twists that I thought were wonderful. While there's an immediate spark of attraction between the leads in Brief Encounter, it's not the Hollywood sledgehammer love at first sight that is still a silly staple in mainstream movies. Their love develops over the simple things in their lives—no exotic backdrops, mansion-sized sets, tuxedos or designer gowns. When she returns home the first time, her husband and children are perfectly normal. His wife is never shown. Neither of their spouses is presented as villains. Both of the lovers are decent people, but the genuine joy they take in each other is eventually clouded by their having to lie and sneak around.

Celia Johnson's Laura, as she now sees herself, lying to cover her affair
in 1945's "Brief Encounter."

Brief Encounter’s finale comes full circle at the train station’s refreshment shop. Alec is morose, Laura feels suicidal. He is moving his family to Africa for a new job and to put distance between them. She will go back to her housewife life.

The train scene, where the lovers admit that their affair has nearly reached 

its final destination, is a classic, in 1945's "Brief Encounter."

When she runs out to see Alec’s train one more time, Laura considers jumping. There’s no noble copout; she doesn't back down because of her family.  Laura admits that she didn’t have the courage and that she’s exhausted by feelings. The wife returns home to her husband Fred (Cyril Raymond), who acknowledges their distance not with judgment, but understanding... and not the Herbert Marshall style of long-suffering spouses!  Unlike some people, I didn’t take Laura’s marriage to be unhappy, just unexciting.

The final moments of 1945's "Brief Encounter," when Laura's husband Fred
(Cyril Raymond), acknowledges her recent distance, is genuinely moving.

Celia Johnson and Trevor Howard are superb as the lovers Laura and Alec. As the focus is on Johnson's middle-class matron, she gets more of a chance to shine. The restrained characters, true to their era, make Laura's guilt and heartache even more touching. Usually female characters get the brunt of punishment in these illicit romances, but not in this grownup British film. Even when Mary's late coming home from her lover, and finds that her son's been in a minor car accident—it’s handled realistically, where the guilt dissolves as the son is obviously okay. 

Johnson's huge eyes convey so much emotion and her husky Ethel Barrymore-esque voice adds immeasurably to her superb inner monolog. The finale, where her lover leaves on his train, to her reconciling with husband at home, is utterly heartbreaking in its even-handed realism. I've never seen Celia Johnson in anything and now I wish she had won the 1946 Best Actress Oscar instead of Olivia de Havilland for To Each Their Own. And this comes from an Olivia admirer! Brief Encounter was released in the United States in the summer of 1946.

Celia Johnson's huge, expressive eyes and distinctive voice make her
interior monologues devastating, in 1945's "Brief Encounter."

Trevor Howard, who I've only seen in later movies as an older, wizened man, is intense as the doctor who's sure of his love for Laura. And yet, he’s so gentle toward her doubts and guilt. He's very strong and masculine here, appealing without being a pretty boy, in the mold of a young Liam Neeson. 

Trevor Howard's rugged looks are an interesting contrast to his
gentle demeanor, as the doctor in 1945's "Brief Encounter."

Supporting cast standouts are Stanley Holloway as the ticket inspector and Joyce Carey as the refreshments room owner, conducting their own humorous courtship. They offer much needed levity. An interesting storytelling choice is that the train station and refreshment room folk take no notice of Laura and Alec falling in love.

The workplace romance of Stanley Holloway's ticket taker & Joyce Carey's
 refreshment room owner offers needed levity in 1945's "Brief Encounter."

Everley Gregg deserves a shout-out as Laura’s oblivious acquaintance, Dolly Messiter. Clueless and chatterbox she may be, but dear, dense Dolly does helps Laura pull herself together when she becomes undone at the train station, after her lover has departed for the last time.

The lovers, played by Trevor Howard & Celia Johnson, meet one last time,
 only to be intruded upon by Everley Gregg's garrulous Dolly Messiter,
in 1945's "Brief Encounter."

The story and screenplay is a model of economy and excellent storytelling. The Coward one-act was expanded into a feature film, perfectly timed at just under 90 minutes. Noel Coward, David Lean, and future director Ronald Neame (The Poseidon Adventure) all polished this gem of a character study. One of four collaborations with Coward, director David Lean’s smaller films of the ‘40s and ‘50s are a striking contrast to his later epics, like Lawrence of Arabia and Doctor Zhivago. Lean’s prior experience as film editor shows, with Brief Encounter’s tight storytelling. The effects used to depict Laura’s climactic emotional state are simple but effective. And the restrained but rich performances by the leads speak to Lean’s strengths as a director.

The cinematography by Robert Krasker, especially at the train station, is mood-setting. Krasker also worked with director Carol Reed several times, and won an Oscar for Reed’s The Third Man. There was much location shooting for Brief Encounter, not all done at a studio, like the same year's American whirlwind lovers Judy Garland and Robert Walker in The Clock.

The second movement of Rachmaninoff’s Piano Concerto No. 2 that’s played several times at key moments of Brief Encounter was later an inspiration for Eric Carmen's 1975 hit All by Myself. 30 years apart, and proved that Rach's music was still a cause for romantic tears!

I see there was a 1974 modern day TV version of Brief Encounter, with Richard Burton and Sophia Loren. Two great stars, totally miscast as average people, not to mention the story was taken out of its WWII era morality to modern day. No thanks, not even out of curiosity! 

The beautiful 1945 Brief Encounter has stayed in moviegoers’ hearts for over 90 years now. At age 66, as of this writing, this adult romance is now in mine. 

Noel Coward's screenplay of 1945's "Brief Encounter" is an expansion of a
one-act play. Coward's story of two extramarital lovers is extraordinary
in its emotional depth.

Van Johnson in Hitchcock-Style ‘23 Paces to Baker Street’ 1956

 

Van Johnson plays a blind man who overs the kidnap plan of a child,
in 1956's "23 Paces to Baker Street."

I had never heard of 1956's 23 Paces to Baker Street, but read that it was considered Hitchcock-esque, which always gets my attention.

This Henry Hathaway-directed film was indeed Hitch-esque, in a good way. 23 Paces to Baker Street is the story of a blind playwright that overhears a plot to kidnap a child, only to become a target himself. The suspense flick has elements of Alfred Hitchcock classics Rear Window and The Man Who Knew Too Much, and 1967’s Hitch-like Wait Until Dark.

"23 Paces to Baker Street," a solid 1956 suspense film, in the Hitchcock style.

23 Paces to Baker Street stands on its own, despite Hitchcock comparisons, derived from Philip McDonald’s Warrant for X in1938. The popular British novelist also wrote The List of Adrian Messenger. Yet, the film does shape the story in the Hitchcock mold. The result is a solid and stylish suspense film.

A 20th Century Fox film in Cinemascope, 23 Paces to Baker Street is beautifully lensed, with a fair amount of eye-catching post-war London location shooting. Milton R. Krasner, one of Fox’s top cinematographers, does a fine job here. Henry Hathaway, perhaps Fox's best studio director, tells the story with some style and with a sure hand. These old pros were in the last hurrah of their studio tenure.

Van Johnson is a blind and bitter playwright in the 1956 mystery,
"23 Paces to Baker Street."

Van Johnson, whose stardom had peaked at this point, was doing some latter day dramatic roles. They seemed to tap into Van’s bitter and petulant off-camera side, as his star was fading at 40, post-MGM glory years. It works for the role as the blinded playwright, Phillip Hannon. Van’s acting is natural and not overdone, as he could be at times in his Metro heyday. Phillip now uses his other senses to compensate, and hence uses his playwright's listening skills to get a bead on the kidnappers.

Vera Miles got the closest to playing a glamorous Hitchcock blonde
in 1956's "23 Paces to Baker Street." Note the gray suit!

Vera Miles plays Van's ex-fiancee, Jean Lennox, who the playwright spurned in self-pity after his accident. Vera is quite pretty and does a good approximation of the game Hitchcock blonde, right down to the fitted gray suits. A shame Miles’ character wasn’t as carefree as Grace Kelly’s Lisa in Rear Window, instead of a long-suffering ex. Miles was 26 here, a promising starlet. As of April 2026, Vera is still with us, and turns 96 August 23!

Vera Miles was 26 the year "23 Paces to Baker Street" was released. 

Cecil Parker is a scene-stealer as man servant Bob Matthews to Van’s tense playwright; Patricia Laffan (Quo Vadis villainess) is a shady lady governess from the employment agency; Estelle Winwood is the good egg bar maid from the pub: Natalie Norwick is sought-after Janet Murch; and Isobel Elsom is charming fun as Lady Syrett. A excellent supporting cast round out the various cops, bystanders, and bad guys in this tense mystery. 

Estelle Winwood offers fun character flavor, in "23 Paces to Baker Street."

Once the unknown villains are on to the playwright's being on to them, the stakes become much higher, leading to some precarious moments for the blind man. The scene where Van's amateur detective is lured into a condemned building is a nail biter. The finale is very reminiscent of Audrey Hepburn's Wait Until Dark, but this movie came out a decade before, and it’s also exciting.

The villain, who's been stalking the blind playwright, about to be revealed, 
in 1956's "23 Paces to Baker Street."

As Van's playwright, his manservant, and ex-girlfriend aid the police investigation, there are a few quirky surprises along the way. Alfred Hitchcock was so often imitated on film that the better examples are often called "Could Have Been Hitchcock." The main difference is that the imitations usually lack Hitch's twisted subtext. All in all, 23 Paces to Baker Street is a nifty little nail-biter!

Van Johnson, the blind playwright who puts himself on the edge of danger,
in 1956's "23 Paces to Baker Street."

Rear Window remains one of Alfred Hitchcock’s best Technicolor blockbusters. My look at Rear Window here:

"Rear Window," 1954

https://ricksrealreel.blogspot.com/2017/06/hitchcocks-rear-window-still-thrills.html

 

'Lucky Lady' & Other Cine-bombs of My '70s Youth

 

The most memorable thing about 1975's 'Lucky Lady'
starring Gene Hackman, Liza Minnelli, & Burt Reynolds
may be this beautiful Richard Amsel poster.

 

I discovered classic films during the early '70s, on TV afternoon movies. This coincided when Hollywood struck gold with modern cinematic gems that harkened to its studio era heyday: The Way We Were; The Sting; Chinatown; and That's Entertainment, to name the most notable.

Alas, there were an equal amount of much-hyped films that my '70s teen self couldn't wait to see, but which never made it to my local theater in Upper Michigan. And for good reason—most were flops!

One of the few film duds that did come to my hometown Manistique was 1974's The Great Gatsby. The 3rd version of F. Scott Fitzgerald's novel actually made money, but was a disappointment because of the enormous money spent making and promoting the lifeless movie. I was turned off because I already loved the book and couldn't imagine why anyone would pine after Mia Farrow for a decade. As for remote Robert Redford, he was not great as Gatsby. The supporting cast came off best in this fashion spread of a movie, which I never saw again.

My entertainment guru of the '70s was Rona Barrett, who really beat the
 drums for 1974's "The Great Gatsby." Note the Lucy headline at lower left!

I was also excited to see Lucille Ball as Mame in ’74. I watched all three of Lucy's series, which CBS was running: I Love Lucy and The Lucy Show in daytime reruns and Here's Lucy in prime time. The latest series should have been a warning. Canned comedy ensued whenever Lucy Carter met a celebrity and irritated them with her star struck antics or looked for an excuse to sing. On I Love Lucy, Ball's singing always caused intentional laughter. 

'Lucille Ball as Mame' was the hype mantra for this 1974 mammoth musical.

There were all kinds of promo for Mame. The gay geek that I was, I kept looking at the big spreads Rona Barrett's mags, marveling at how young Lucy looked. And there was the new fave, TV's Maude, Bea Arthur in a black Joan Crawford wig and ankle straps. I was awestruck —and so naive.

Love this headline for Rona Barrett's 1974 story on "Mame."
The short answer is NO!

Then the bad reviews for Mame came out… then there were stories about the reviews! I read one news story of Lucy at an event, dabbing tears away, distraught over the backlash. The news photo showed that she did not look young, despite Ball all dolled up like Mame. The film never shook the blues in my hometown! 

I saw Mame a couple times later on TV. My thought was that if the songs with Lucy's raspy singing were cut, Mame would have been much better. Only, then you would have Auntie Mame again. So why not just watch the 1958 Rosalind Russell as Mame Dennis?

Lucille Ball was a favorite veteran star for Rona Barrett magazines. 

Next, I was fascinated that my favorite star, Elizabeth Taylor, was heading an all-star musical remake of The Blue Bird, filmed in Russia. Directed by George Cukor, it was hyped as the ‘70s answer to The Wizard of Oz. I read gossip items on the troubled filming, but when I saw that Rona Barrett was promoting a big spread for the epic in her next issue, I was hopeful. Then the issue came out, and no sneak preview of Easter 1976’s The Blue Bird! I've only seen clips of the elusive epic on You Tube since and that was plenty. The Blue Bird looks like a chintzy costume party.

I was agog when I bought this People magazine with Elizabeth Taylor in
 costume in "The Blue Bird." I think I still have the Milton Greene cover shot.

A lovely poster for 1976's "The Blue Bird," a gawd-awful movie.

By 1976, I was becoming a jaded teen when it came to modern Hollywood cashing in on old-time Tinseltown. I loved the biography book, Gable and Lombard, which made me a new fan of Carole Lombard. When they cast Marcus Welby's James Brolin as Clark and newcomer Jill Clayburgh as Carole, I was appalled. When clips were previewed on TV talk shows, I knew once again that the onscreen Gable and Lombard was never coming to Upper Michigan. I finally watched Gable and Lombard during 2020's Covid lockdown, and found the film bio inaccurate at best, smutty and juvenile at worst.

I was hoping that 1976's "Gable and Lombard" wouldn't be as terrible
as it looked... sadly, it was!

And there was so much bad press about Barbra Streisand's ’76 remake of A Star is Born that I vowed not to go see it. In the '70s, people would flock to see Streisand sing from a phone book, so Star was a big hit. My female classmates loved it and when I sang the praises of Judy Garland's version over Babs', their sullen stares said, “Shut up, nerd!” I didn't see Streisand's Star until 2017, over 40 years later. It was indeed still awful, after all these years!

By the time 1976's "A Star is Born" came out, I never wanted to hear about this
 ego trip again. I finally watched Babs' version in 2017!

This brings me to 1975's Lucky Lady, which inspired all these movie memories. This was another event movie that I was all excited about back then: Cool Burt Reynolds! Judy Garland's daughter, Liza Minnelli! Gene Hackman, that guy from The Poseidon Adventure! And dreamboat Robby Benson, who sealed the deal! They were starring in a comedy caper like The Sting, which I loved. Once again, I pored over my bible, Rona Barrett’s magazines, trying to figure out what Lucky Lady was all about. Turns out, not much! The Christmas blockbuster was looked upon as a cinematic lump of coal and bad word of mouth trumped three superstars at the height of their appeal. This too didn't come to pass at my hometown's theater.

Just watched 1975's "Lucky Lady" for the 1st time in 2026! Better late than never?

I just saw a great copy of Lucky Lady for the first time on YouTube, in March 2026, over 50 years later. The disjointed story and style of Lucky Lady reflects its troubled filming. The plot of Lucky Lady was inspired by rum running stories on the western coast and classic buddy movies where the men fight over the sassy leading lady. What appeared onscreen was pretty thin, and no one knew how to end the movie. No one liked the original finale, where the men were killed, ala Butch Cassidy and the Sundance Kid. One version that was quickly discarded had the trio reunited in their senior years and looking decomposed, not aged. 

The "old age" ending for 1975's "Lucky Lady" was quickly scrapped,
for good reason. The stars look mummified!

Stanley Donen, a classic era director fave of mine, was past his prime and out of his depth. As the romantic triangle, Gene Hackman fares well enough, displaying an early comic touch. Liza Minnelli, the leading lady, just wrote in her memoirs that Gene was extremely rude to her throughout filming. Hackman could be a curmudgeon, I think because he was rarely cast as a romantic leading man. Or perhaps it was because Gene was appalled by Liza's obnoxious performance as Claire. If you looked up "over the top," in the dictionary, I'm sure Liza's picture is on that page. And Liza goes beyond the pale in Lucky Lady. Minnelli is all over the place—character, comically, and she caterwauls her dialogue and two songs, both Kander and Ebb on autopilot. My guess is director Donen turned Liza loose, hoping the results would be triple threat Judy all over again. She looks like a deranged Clara Bow and whines and wheezes in her harried moments like Shelley Winters! Burt Reynolds is the surprise here. As the handsome but dim rum runner, Burt doesn't fall on his mock macho shtick and is quite endearing. Reynolds was a natural comic actor and could be a strong dramatic one, too. A shame Burt didn't prioritize those qualities over stardom.

Liza Minnelli, Gene Hackman, & Burt Reynolds take over the "Tonight Show"
 to promote 1975's "Lucky Lady." Everyone seems jovial here.

Gene Hackman, Liza Minnelli,  & Burt Reynolds may be wondering how
they got stuck in 1975's "Lucky Lady" here.

It must be said while Gene, Liza, and Burt were at the top of their ‘70s stardom, independent modern day stars weren't any better at choosing scripts than the old studio star system. All three made some real clinkers during this time: Gene in Zandy's Bride and Bite the Bullet; Liza in A Matter of Time and New York, New York; Burt in W.W. and the Dixie Dance Kings, At Long Last Love, and Nickelodeon. None of which I have seen, nor plan to, ever!

Of the superstar menage a trois with Burt, Liza, & Gene? I'd take only one!
 1975's "Lucky Lady."

As for Lucky Lady, what began with anticipation became a boondoggle, with a final film that satisfied no one. Visually, it's lovely despite the excessive soft focus, filmed along the water in Mexico. Some beautiful architecture serves as backdrops. Despite the incoherent story and unfunny dialogue, Gene, Burt, and Robby Benson, do decent work. But you have to be a hardcore Liza fan to enjoy her performance—she's one unlucky lady here. 

A sweet snapshot of the "Lucky Lady" cast: Robby Benson, Burt Reynolds,
 Liza Minnelli, & Gene Hackman.

Up next for Minnelli was New York, New York, which was another troubled production that flopped on first release. A few years later, a director's cut was released, to better effect. While Liza won praise for New York, New York, it's almost an anti-musical, not a tribute. To revamp a quip that Bette Midler made about another '70s song-laden movie disaster, "I never miss a Martin Scorsese musical.”

Well actually, I did. I don’t even recall if New York, New York came to Manistique—a Minnelli miss to be remedied at a later date!

Another big movie everyone was excited about... until it was released!
Rona Barrett gives the big build-up for 1977's "New York, New York."

My deep dish on Barbra Streisand's diva version of A Star is Born: 

https://ricksrealreel.blogspot.com/2017/08/barbra-streisands-star-is-born-still.html