Best movie of this year hands down!

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

One of those movie experiences that is so good it makes you realize you've been grading everything else on a curve.

This is a touching drama about love and loss with Ray Milland and Lana Turner. A man that has not had much to look forward to in his life, Milland has many struggles with his morals and standards. He feels responsible for the accident that leaves his wife unable to walk. He has stopped living for all purposes until he meets Lana Turner. She is just as fragile as he, and they fall in love. I disagree with those who think Milland is not good in this part. It is also said the George Cukor did not have much respect for Milland's acting skills, which is somewhat amazing to me since he had already won an Oscar. For me he is the perfect choice, handsome, withdrawn, and every waking moment ridden with guilt. Lana is just not content, even though she is a great success. Ann Dvorak is wonderful in the beginning scenes and we almost think now, that we see some of the same discontent in Lily (Turner). There are some great moments between Milland and Turner. The apartment shopping tantrum, the final scene at the birthday party, where he is so destroyed, he just falls apart. His feelings for Lily are true, but his feelings for his wife are also true. Can they survive without each other? We think they can. They are both changed by this affair, and hopefully for the better. The haunting melody in the film was set to lyrics years later by Boz Scaggs. Wonderful song, and a wonderfully sad story.

Kansas girl makes a splash in New York City as a print model, but her love affair with a married man may ruin her. From the era where independent career girls were only ambitious until a man entered the picture, this "woman's movie" is naive and rather unconvincing, though it is seldom soft; the knowing dialogue has a sharp, bitter edge, and the performances are solid, making it a cut above the usual soap opera. Isobel Lennart's screenplay is dotted with cutting little truths--too many, perhaps; often, the greedy masochism is underlined with a moral conscience (and tinkling piano keys) which turns the whole thing into a heavy-breathing melodrama for sufferers on the high road. Lana Turner does a lot of striding up and down, and she seems too seasoned to be a novice in the film's opening scenes, but her desperate gaiety is touching. Ray Milland does his usual colorless nice-guy turn, but Ann Dvorak is startling playing an over-the-hill model and Margaret Phillips (as Milland's wife--an invalid who beams with sanity and understanding like a saint) is excellent in the film's big scene, where the two women meet. Not an important picture, nor a provocative one, but a star-vehicle that does manage to touch upon some resonant truths about women, their careers, and their fragile hearts. **1/2 from ****

I loved Lana Turner in" The Postman Always Rings Twice", and was interested to see her portray what was considered a top model in the 1950's.She basically portrays a bored woman from Kansas who comes to NY to "become someone".She meets Ann Dvorak as Mary, who is a top model on her way down,presumably from getting too high too fast, and drug use. Some of her scenes are the most memorable as she reflects on the void and banality of her profession.It is a double-edged sword once a girl has reached the top.7urner does not see this, climbs her way to the top and has an affair with married executive Ray Milland.He does not come off as a sympathetic character, his wife is disabled.Some of the scenes with Turner as his mistress are a bit forced,and hard to believe. Chalk this up to the time period, as the reality of her situation could not be portrayed.Overall worth seeing for Lana and performance by Ann Dvorak.8/10.

Lana Turner was off screen for two years and came back with this dull film. And what happened to her? The ravishing beauty of 'The Postman Always Rings Twice' from only a few years before is gone. At only 29 years of age when filming this, she looks 39. Not only that, but she appears tired and uncomfortable throughout, as does co-star Ray Milland. She's supposed to be a spirited young wannabe from Kansas but she looks and acts like a cynical fashion plate sharpie from New York who is slumming. Milland is supposed to be a Montana copper miner unfamiliar with the Big City, but you don't believe it for a second. This is one odd little soap opera, with the ultimate point being that our little Kansas-innocent-in-the-big-city has attained that Coming of Age discovery, realizing she'll have to go on without her Great Love and forge that "Life Of Her Own." Sure, but Lana's worn face and manner makes her coming-of-age appear more like a mid-life crisis. Sadly, the film stacks the deck against her by putting her up against crashing bores like Milland and Barry Sullivan. And once Margaret Phillips shows up as Milland's crippled wife, and is so lovable in both her scenes, you know the Turner-Milland relationship is hopeless.The true sin of this film is that it becomes increasingly boring. It starts fine, with Ann Dvorak taking hold as a fading model turned sour drunk. She exits early, unfortunately, but she gives the film a charge. Tom Ewell, as the manager of the modeling agency who gives Lana her start, is excellent in a fast-paced, fast-talking scene. But when Milland shows up the film slows down, then crawls. A romance between the two is manufactured out of slopped-together bits, from a piano player in a nightclub playing the same theme over and over, a kid getting Lana and Milland involved in buying a jalopy, and (no kidding) a ventriloquist goofing around with them. So, it goes, yawn by yawn, but during all this forced dramatic hoo-hah is a parade of eye-blink bits by many familiar film/TV faces. There's Kathleen Freeman as a switchboard operator, Richard Anderson as a note-taker, wheezy-voiced Percy Helton as a diner owner, Hermes Pan as (of course) a dancer, Frankie Darro (all grown up) as a bellboy, Frank Gerstle (the Jeff Chandler-like actor who played the doctor who tells Edmond O'Brien he's a dead man in 'D.O.A.') as a party guest, along with Beverly Garland as a fellow party guest, and Ann Robinson (of 'War Of The Worlds' fame) as a model. There's also Madge Blake (Aunt Harriet from the 'Batman' TV show) and Whit Bissell. It never seems to stop. Fortunately, the film does stop... or more likely runs into a dead end and gives up.