Cher & Robert Altman's Comeback in 'Jimmy Dean' 1982

Cher as Sissy, the tart with a heart. Robert Altman directed Cher in

"Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean,"

first on Broadway and then on film. 

Director Robert Altman was not an admirer of Hollywood’s star-making mythology. Which was exactly what drew the movie maverick to Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, novice playwright Ed Graczyk's look at the downside of star worship. Ironically, Altman cast the most sparkling of stars, Cher, as one of the leads. 

This was a surprising collaboration, but a compatible one, as both Altman and Cher were outspoken contrarians who loved bucking Hollywood norms. The director and star were also both at career crossroads, so they each had a goal: Altman to control his own work and Cher to show that she could act. 

Cher and Robert Altman, an unlikely duo, got on just fine for "Come Back
to the Five and Dime, Jimmy Dean, Jimmy Dean."

Altman was famously contentious toward the Hollywood studio system. He gained a lot of clout after 1975's Nashville. But he lost it all with a string of flops and a very disappointing blockbuster, Popeye. That, plus Altman's feuds and lawsuits made him persona non grata with film studios.

As for Cher, she had made a huge comeback as a TV superstar in the '70s. The downside was that her flamboyant image made it hard for many people to take her seriously. In fact, when Cher talked to Bob about her desire to act, famously blunt Altman asked her just how was he supposed to tell if she had any talent, from the crap that she had done on TV. Mind you, Altman got his start on television, directing Bonanza and Surfside 6, and other TV fluff. When discussing his movies, straight shooter Cher told him that he ruined Popeye for her. 

***Spoiler alerts from here on***

The Disciples of James Dean circa 1955, in 1982's "Come Back to the
Five and Dime, Jimmy Dean, Jimmy Dean."

Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean is set in a fictional small Texas town, September 30, 1975—the 20th anniversary of James Dean's untimely death. A local fan club, The Disciples of James Dean, is holding a reunion in his honor. The high school pals are a mix of those who got away from the dying town, and those who sought comfort in staying behind. Their reunion reveals broken dreams, resentments, and long-kept secrets. The gathering is informed by flashbacks of 20 years earlier, when James Dean came to nearby Marfa to film Giant. The local teens are thrilled, especially Mona, who takes idol worship to the extreme. With gay Joe as a willing sidekick, they go to Marfa to be extras on the film. Mona later claims that she became pregnant by Dean from one night stand. This is made more dramatic when Dean has his fatal car crash that September. Mona’s friends Juanita, Sissy, Stella Mae, and Edna Louise don't question this bold claim. Nor do the locals, as publicizing the son of James Dean is a short-lived boon to the dying berg. Joe, who has been outed in a traumatic way, fled town shortly after.

No, this isn't "The Witches of West Hollywood!" Director Robert Altman surrounded by his "Jimmy Dean" stars: Sandy Dennis, Karen Black, & Cher.

Altman and Cher worked on the stage and film versions of Jimmy Dean, and she made cameos in his The Player and Ready to Wear. Altman took a big chance casting acting newbie Cher in a Broadway play. Later, when Bob wanted to film Jimmy Dean, he approached Cher to star. She was already set to appear in Mike Nichols' Silkwood, and was ready to move on. When Bob said he couldn't get financial backing without her, she said yes to repay his faith in her.

Sandy Dennis and Karen Black had both worked with Bob Altman before and adored him. Like Sinatra, Cher is one of those stars who get bored easily. Altman's fast, improvisational style suited Cher, and she loved him, as well. One person who didn't love all this was the playwright, Ed Graczyk. He felt Altman's style was changing the play and complained about Cher's changing some of her lines. Graczyk, who passed away this April, 2026, aired his grievances in a DVD commentary interview a dozen years ago. He ignored the fact that if it wasn't for Altman, the play wouldn't have been brought to Broadway. And if it wasn't for Cher, his play wouldn't have been made into a movie. Ah, showbiz!

When Altman auditioned Cher, it was originally to read for Joanne, the flashy mystery woman. But Cher asked if she could read for Sissy, the good-hearted floozy—a smart move on Cher's part. The baroque Joanne might have made Cher harder to accept as an actress. But Sissy's brash warmth was perfect for Cher. This happened again later with The Witches of Eastwick, where Cher was to play the role Susan Sarandon eventually played. Again, Cher was better cast as the no-nonsense witch who could tell off Jack Nicholson's horny little devil. Not sure how Black and Sarandon felt! 

During the short Broadway run, two of the Jimmy Dean actresses came to Altman, saying Cher was "too alive" in certain scenes. Bob relayed this to Cher, who asked what she should do. Altman said, "Keep doing what you're doing."

Cher in rehearsals for the Broadway version of "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Sandy Dennis was not one of those actresses. She was comfortable with big stars. Dennis and Elizabeth Taylor got on well in Who's Afraid of Virginia Woolf? They even had burping contests to relieve the film's tension. Sandy enjoyed Cher's potty mouth and raunchy jokes, and they became pals.

While the critics generally praised the actresses, the play got bad notices. Jimmy Dean was written in '76, made it to Broadway in '81, with the film version made in '82. The playwright was obviously inspired by mid-century giants Tennessee Williams and William Inge. They were both temporarily considered passé at this time, so someone writing something derivative of their era was certainly going to get dismissed. And the big reveal that Mona didn't conceive her love child by James Dean, but by gay pal Joe, felt a bit like the revelation about George and Martha's child in Edward Albee's Who's Afraid of Virginia Woolf?

While "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean" was not a hit, 

it garnered good reviews for its stars, especially acting newbie Cher.

The critics may have been right, but there's still some merit to this play. The characters are authentic and so is the social landscape. The playwright lived in Midland, Texas for five years and visited Marfa, where Giant was filmed. 

The film version of "Come Back to the Five and Dime, Jimmy Dean,
Jimmy Dean" was essentially a filmed play, with some special effects
for the flashbacks. All done in 19 days!

And as someone who grew up in a small Upper, MI town and moved back much later, the characters and their attitudes feel authentic. Several of these remind me of local characters that I have known in my hometown of Manistique. I have not read the original play, but have seen it performed locally, and didn't find it radically different from Altman’s Broadway or filmed version. I didn’t think the play was trailblazing, but found it thoughtful and entertaining.

"Jimmy Dean" was a major first step in Robert Altman's career comeback.

Bob Altman's depiction of this slice of small town life is skillfully woven. A memory play, the use of the past is done with mirrors, windows, lighting, music, and dialogue cues, all expertly done. The past is always in our present, as director Joseph Mankiewicz once wrote, which Altman explores here.

Some simple but effective ways of showing flashbacks from 20 years prior, 

in 1982's "Jimmy Dean."

And I thought the decision to have the mature actors play their younger selves was an artistic and economical decision that works. Altman invested his own money for the play and the financing to film the play called for it to be done in just 19 days. I think Jimmy Dean is a beautiful presentation.

"Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean" is set 

September 30, 1975, and also 20 years earlier, the day James Dean died.

I was sadly surprised to find that many of the cast members of Jimmy Dean died prematurely. Sandy Dennis died in 1992 at 54, of ovarian cancer. Karen Black died in 2013 at 74 of ampullary cancer. Sudie Bond died in 1984 at 61, of a respiratory ailment. Marta Heflin died in 2013 at age 68 of a prolonged illness. Mark Patton is still with us at 66 of this writing, but has recurrences of AIDS-related illness. On the upside, Kathy Bates will turn 78 June 28, is slimmed down and starring in Matlock. And Cher, a first wave baby boomer, turns 80 May 20.

And director Robert Altman died in 2006 at 81. Writing all this reminds me of the final scene of Jimmy Dean, with the dime store later disintegrated with time, and characters faded away.

The entire cast is excellent of Jimmy Dean.  Robert Altman loved actors and always gave each of his their moment to shine.

Marta Heflin as sweet Edna Louise, in 1982's "Jimmy Dean."

Marta Heflin as Edna Louise: Heflin had huge expressive eyes and a great smile, which made her perfect for the sweet character that’s always pregnant. You'll love it when her child-like Edna Louise finally stands up to Bates' bossy bully, Stella Mae.

Kathy Bates as bully Stella Mae in 1982's "Jimmy Dean."

Kathy Bates as Stella Mae: This was the beginning of Bates trajectory to stardom. By the beginning of the next decade, Kathy would be a Best Actress Oscar winner for Misery. As Stella Mae, Bates mixes brash humor and a nasty edge as the alleged happy member of the group who needs to ridicule Edna Louise.

Sudie Bond as Jesus loving, fly swatting Juanita in 1982's "Jimmy Dean."

Sudie Bond as Juanita: Bond is gives a feisty, realistic performance as Bible-banging Juanita, proprietor of the fading five and dime store. She clings to religion and unrealistic memory of her late husband. Sudie plays the role even-handedly, both irritating yet empathetic. Bond would co-star next with Cher in Silkwood, as Thelma, as in "Thelma got cooked!"

Mark Patton as Joe, with Sandy Dennis as Mona, in 1982's "Jimmy Dean."

Mark Patton as Joe: The role of the bullied gay boy hit home for Patton, both in his early years in Kansas City, Missouri and in Hollywood. His life became fraught. Tired of hiding that he was gay, Patton left the biz after discovering he had AIDS. Patton recently came back, including a documentary on his life and how he's turned it around in Scream Queen! My Nightmare on Elm Street. 

Karen Black as the mysterious Joanne, in 1982's "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Karen Black as Joanne: Black plays this tricky role straightforwardly for the most part. The play, director, and star handle the transsexual plotline realistically and empathetically. When Black makes her revelation, Karen goes a bit big, but it's not out of character in this type of small town melodrama. Black plays the Joanne's mixed feelings about her old friends authentically. And while everyone leaves with no hard feelings, it's not all warm and fuzzy. 

Sandy Dennis as the fervent fan of James Dean, in "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Sandy Dennis as Mona: Dennis has her juiciest role since Honey in Virginia Woolf. Sandy's Mona is actually the starring role. The film and stage star gives one of her quirkiest performances, with her arsenal of Sandy-isms. One of the highlights is when Cher's Sissy mocks the mannerisms of Sandy/Mona. Yet her Mona has many powerful moments as her facade crumbles away like her beloved ranch from the Giant set.

Surrounded by well-meaning friends, Dennis' Delta Dawn is enabled to live her 20 year daydream that she gave birth to the son of James Dean. Her dysfunctional dream also perpetuates the lie that son Jimmy Dean is mentally challenged. Mona also uses her “severe” asthma to avoid any uncomfortable life situations. So when Sissy and Joanne burst Mona's bubbles one by one, you are treated to some stellar Sandy acting moments. While it's fun to watch Dennis go big, Sandy's just as skilled in the small moments, as when Mona slowly realizes Joanne really is actually Joe. Or when Mona confesses why she told her life-long whopper. Mona is one of Sandy Dennis' best misfit portrayals.

Sandy Dennis as Mona sees the light in 1982's "Come Back to the Five and Dime,

 Jimmy Dean, Jimmy Dean."

Cher as Sissy: For her only time on Broadway, Cher got some serious praise as the small town "tart with a heart." Some critics were amazed that Cher had any actual talent, while others were more reserved in their praise. To me, Cher had already evolved as a performer, from a deadpan teen idol in the '60s to an increasingly polished TV star in the '70s to a solo star on TV and in concerts. Why not Cher the film actress, too? It just showed how strong Cher's tabloid image had become once she left Sonny. This led Cher to go to NYC and study acting. A mis-dialed call from Cher's mom to her pal, Mrs. Altman, asking for Cher, got Mr. Altman to wondering what Cher would be like in his latest project. Though the production was short-lived, word of mouth was good about Cher. Mike Nichols came to see her backstage. He once questioned her talent and came with an apology gift, a role in Silkwood. 

Cher as Sissy, with Sudie Bond, in "Jimmy Dean." Cher really reminds me of future

 co-star Olympia Dukakis here.

First, Cher agreed to film Jimmy Dean. The reviews for the film were better. And there was some Oscar talk, but the best supporting actress category was filled with strong nominees that year. Still, Cher gives a strong performance as the tough-talking Sissy, who has a secret of her own. Cher's delightful, watching her tweak Bond's devout Juanita, while telling deluded Sandy’s Mona to snap out of it. But her big moment comes when Joanne dares her to tell what really has become of Sissy’s long distance marriage, among other things that are MIA. Cher perfectly plays her monologue, with her trademark stoicism and humor, which makes it even more touching. And she holds her own with Sandy Dennis in their increasingly angry blowouts. This is Cher pre-plastic surgery, and she is completely natural in appearance and performance. A part of me wishes that she would have continued on this path, but by the '90s, Cher realized there was more money to be made in her 401K years as “ageless” Cher. 

Cher as Sissy, was an acting revelation to many people, in 1982's "Jimmy Dean." 

But not to me!

While she wasn't in it for the long haul, Cher gave a string of solid performances in Jimmy Dean, Silkwood, Mask, The Witches of Eastwick, Suspect, Moonstruck, Mermaids, and Tea With Mussolini.

By the time the stage and film version of Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean was done, Robert Altman and Cher's careers gradually got back on track. Altman did a few more filmed plays before getting back to features like The Player and Gosford Park. He buried the hatchet with Hollywood when he received an honorary Oscar in 2006.

Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean may have not been a groundbreaking play, but there are some truths that director Altman and the cast illuminate beautifully with their collaboration. 

The gang of "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean"

 sing "Sincerely" for old times sake.

My deep dive into Cher's memoirs: 

https://ricksrealreel.blogspot.com/2025/05/chers-memoir-brings-back-memories-for.html

A testament to the charms of Moonstruck is that it’s remained a favorite over the decades. My take on Cher's finest hour on film: https://ricksrealreel.blogspot.com/2021/05/cher-shines-in-modern-classic.html

Guided by Robert Altman, McCabe & Mrs. Miller comes together gracefully as one of the best films of the ‘70s. My look:

https://ricksrealreel.blogspot.com/2018/01/mccabe-mrs-miller-1971.html

My look at the Texas epic Giant here:

https://ricksrealreel.blogspot.com/2016/11/1956s-giant-timely-and-timeless-epic.html

 

 

  

Tracy & Hepburn in Capra’s ‘State of the Union’ 1948

Spencer Tracy & Katharine Hepburn 's characters already have problems
before he decides to run for president, in 1948's "State of the Union."

State of the Union, successful in 1948, has been long considered second-tier Frank Capra. Hard to top a string of hits from original material during one's youth, for sure. Post-war, Capra questioned his place in movie making. He turned out It's a Wonderful Life in '46, not a smash but not the flop that legend has long claimed.

Frank Capra's "State of the Union" still has some pertinent political zingers!

Noteworthy is the fact that State of the Union came from a 1945 Pulitzer Prize-winning play, from Howard Lindsay and Russel Crouse, the creators of Life with Father, among other hits. Capra wasn't exactly slumming here! And this was a faithful rendition, with plenty of its sharp political humor intact. Technically a Frank Capra Liberty film, State of the Union was essentially a MGM movie, with their contract talent. Metro head L.B. Mayer probably wouldn't have permitted all of this adult, liberal material. Still, it reunited Tracy and Hepburn much more successfully than the previous year’s soapy Sea of Grass, directed by the young hotshot Elia Kazan.

The stars of Frank Capra's political comedy-drama, 1948's "State of the Union."
L to R: Katharine Hepburn, Spencer Tracy, Van Johnson, & Angela Lansbury.

State of the Union was filmed in the last quarter of 1947. Spencer Tracy was 47 and looked much older; Katharine Hepburn was 40 and looked great onscreen, with the aid of MGM's glam squad. Then there’s Angela Lansbury as the villainous other woman, who turned 22 during production! Angela always looked older and was cast as such, though she could have been cast as Tracy and Hepburn's daughter. 

Spencer Tracy as self-made man and presidential hopeful Grant Matthews,
in 1948's "State of the Union."

Katharine Hepburn as Mary Matthews, the estranged "good wife"
of Spencer Tracy's presidential candidate, in 1948's "State of the Union."

Tracy is the beacon of decency as Grant Matthews, though that light flickers a bit since he has had an affair with Angela Lansbury's Kay Thorndyke. In his latest test of integrity, running for President, the self-made man has a hard time not being made over by political hacks. Fear not, Grant is played by Saint Spencer, who will come through it all, decency intact. 

Kate, fussing over Spence as usual,  in 1948's "State of the Union."

Hepburn plays her political wife well, though her '40s woman, whose man has wronged her, feels that she deserves a kick in the pants... for not being unquestionably loyal. I also didn't realize that Kate’s doting on Spence so slavishly onscreen went back this far. Most movie fans eat it up, but I find it a bit much. That said, Tracy and Hepburn perform with their usual professionalism, intelligence, warmth, and wit as a couple who have had their ups and downs.

Political pillow talk with Spencer Tracy & Katharine Hepburn's at odds couple, 

in 1948's "State of the Union. "

Angela Lansbury's performance as Kay Thorndyke steals the show, from a cast at the top of their game. As a newspaper heiress, her Kay wants to determine the next Republican presidential candidate. The ruthless character is played with precision and no mercy, reminding me of Faye Dunaway's mad programmer in 1976's Network.

As the malevolent political opportunist, Lansbury gets a dress rehearsal for her classic political manipulator of nearly 15 years later, in The Manchurian Candidate. And once again, Angie was cast as much older. At 37, she was cast as Laurence Harvey's mother!

Adolphe Menjou & Angela Lansbury are the political heavies of 1948's 

"State of the Union." Angela's thinking maybe a game of solitaire to pass the time!

Lansbury's performance is extraordinary at such a young age. And had it been an actual MGM movie, Angie might have scored a Best Supporting Actress nomination. The film's opening scene, where Kay is saying farewell to her dying news magnet father (an excellent Lewis Stone), is chilling, and made me think of Bette Davis at her stone cold best.

Angela Lansbury as Kay Thorndyke, about to be come heir to her father's
 newspaper empire.  With Lewis Stone in 1948's "State of the Union."

Van Johnson, not a favorite of mine, is very good as a one man Greek chorus of non-stop humorous sarcasm. As Spark, he has some of the best lines in this movie, reacting to all the political monkey business. The only scenes with Van that I didn't like was of the maid (Margaret Hamilton) mooning over him, and Spark wincing in response—it seemed like a cheap shot at her expense.

Van Johnson is Spark, the freckled Greek chorus of 1948's
"State of the Union."

Adolphe Menjou was famously a right-wing Republican, so he's well-cast as Jim Conover, who only wants a candidate that will win. Menjou was an expert actor in comedy and drama, and it's fascinating to watch him in scenes with the famously liberal Hepburn. 

Adolphe Menjou schools Katharine Hepburn & Spencer Tracy's characters
on political realities, in 1948's "State of the Union." 

Frank Capra must have had a soft spot for Carl "Alfalfa" Switzer. Capra gave the fading young star a fun bit in It's a Wonderful Life and a showy one in State of the Union as the over-tipped bellboy.

While some of the dialogue in State of the Union is dated, it makes you realize that nearly 80 years later, there's nothing new in the world’s second oldest profession!

Director Frank Capra is in good form here as a storyteller and State of the Union is stylishly done and moves at a good clip. Capra only goes Capra-corn when Tracy's idealist waxes political and the about-face finale where Grant reclaims his integrity. Corny, but Capra and the cast put it over.

It struck me as unbelievable that Kay Thorndyke would try to shoehorn old flame Grant Matthews into a typical Republican candidate. By this time, the actual party was becoming even more conservative and Grant's political views were very liberal left. Kay may think she can tone down Grant's pie in the sky liberalism, but the tough cookie should know better. BTW, director Capra was a populist who later became a Republican.

Old flames in 1948's "State of the Union." Well, at least one was old!
Spencer Tracy was 47 and Angela Lansbury was 23.

The only scene I found flat-out too much was the flying scene where Tracy goes all Top Gun with a fellow pilot, capped by tubby, middle-aged Spence putting on a parachute and leaping out of the plane. What a he-man! 

State of the Union may be the first film to look at the packaging of a political candidate with the modern media of television. This State is not a classic, but classy entertainment boasting a great cast and a subject that never goes out of style.

Spencer Tracy & Katharine Hepburn, on the set of 1948's comedy-drama,
 "State of the Union."

MGM’s 1942 drama, Keeper of the Flame.

MGM’s suspense story Keeper of the Flame is one of two dramas that Spencer Tracy & Katharine Hepburn made, from their nine films together. This is the story of a revered American hero who turns out to be a cultish fascist. Spencer is the reporter on the story; Kate is the hero’s widow. My take here: 

https://ricksrealreel.blogspot.com/2025/05/tracy-hepburn-team-in-rare-drama-keeper.html

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.