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“A Letter to Three Wives” would probably bomb at the box-office these days because it isn’t mawkish, crude, or depressing. Too dreadful! It’s insightful without being depressing, compassionate without being maudlin, and razor-sharp humorous without being sophomoric. In short, it is a film written and directed by an adult aimed at adults. “Three Wives” examines, with wit to spare, the importance placed on money, class distinction, and what women had/still have to deal with concerning the opposite sex, with a couple of jabs at entertainment,advertising, and consumerism thrown in for honorable measure. All of the performances are estimable, with a worthy performance by the magnificent Linda Darnell as a gold-digging dish (with a heart of gold) from the other side of the tracks. Also exhibit are Connie Gilchrist and an unbilled Thelma Ritter,whose presence in a film always guaranteed howls of laughter. (Her roles were written with her in mind, by the design) “Three Wives” was unnecessarily remade, without the wit or charm, into a made-for-TV movie in the tedious 1980s, its only redeeming quality being Ann Sothern, one of the current “Three Wives” played a miniature role in it. To sum it up, “A Letter to Three Wives” is a luscious section of apple pie, its ingredients being a intellectual, insightful script and direction, three dazzling women, and grand performances-enjoy!
Three suburban wives board an excursion boat to chaperone an all-day outing with a group of school children. Unprejudiced before the boat leaves the dock a messenger arrives with a tag for the three of them. It’s from Addie Ross, an musty friend who may not be grand of a friend. “Dearest Debby, Lora Mae and Rita,” she writes. “As you know, by now, you’ll have to carry on without me from here. It isn’t easy to leave a town like our town, to walk myself away from you three dear, dear friends who have meant so powerful to me. And so I reflect myself lucky to be able to grasp with me a sort of memento, something to remind me of the town that was my home, and of my three very dearest friends, who I never want to forget, and I won’t. You explore, girls, I’ve hurry off with one of your husbands. Addie” For the next few hours, unable to come by to a telephone, each of the three women can only assume abet on her marriage and wonder if she is the one who has unbiased lost her husband. Only that afternoon when they return will they learn which husband Addie made off with.
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There’s Deborah Bishop (Jeanne Crain) married to Brad (Jeffrey Lynn) . She was a puny town girl swept away by a glamorous officer, who now lives a life of country club complacency. She has never lost her insecurity. There’s Rita Phipps (Ann Southern) married to George (Kirk Douglas) . She and her husband started out as school teachers. He unruffled is but she is carving a successful and well-paid career as a radio soap opera writer. There’s Lora Mae Hollingsway (Linda Darnell) married to Porter (Paul Douglas) . She wanted away from the other side of the tracks, and managed to do a marriage happen with the town’s biggest businessman.
As they flash assist, we learn a lot about each one of them and the plot of their marriages. Hovering over everything is the presence of Addie. “That’s Addie, for you,” gushes Brad at one moment. “Always the suitable thing at the suitable time. Thoughtful and sterling.” “Worthy to a fault,” agrees George. “To a fault. That’s Addie,” say Rita, making a face. We never meet Addie, never even gawk her, but she keeps up a voice-over commentary with us that is laughable, a limited malicious and wise about the ways of husbands.
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By the demolish of the movie the three couples have learned a respectable deal about themselves and what’s well-known. Addie indeed had accelerate off with one of the husbands. And nonetheless the movie has a overjoyed and satisfying ending.
Many critics deem this is Joseph Mankiewicz’ best movie after All About Eve. He won Oscars for best screenplay and best direction (and then repeated the next year for Eve) . There are any number of generous things about the film. The place could have degenerated into melodrama but Mankiewicz’ writing is so droll and sophisticated it raises the game. It crackles with commentary on any number of issues, and most are level-headed pertinent today. “I’m a school teacher,” George Phipps says. “That’s even worse than being an shimmering. School teachers are not only comical they’re often frosty and hungry in this richest land of ours.” Try substituting “television writing” for “radio writing” and hear the zingers snap home as George offends a radio advertising executive. “The purpose of radio writing,” he says, “as far as I can explore is to exhibit to the ‘masses’ that a deodorant can bring happiness, a mouthwash guarantee success and a laxative attract romance.” Mankiewicz’ brief satire of a radio soap opera, “Another Day in the Notebook of Linda Grey, Registered Nurse,” is almost as trustworthy as some of Bob and Ray’s stuff.
All the actors do lovely jobs, but particularly intriguing, I reflect, are Ann Southern as Rita, Linda Darnell as Lora Mae and Paul Douglas as Porter. Unbilled and stealing scenes is Thelma Ritter as the Phipps’ maid. Also unbilled but a key element in the movie is Celeste Holm. She does Addie’s exclaim…warm, coarse pitched, amused, and not to be trusted if you’re a wife.
The shadowy and white DVD looks ample. There are several extras, including a TV biography of Linda Darnell and a commentary track which includes two of Joseph Mankiewicz’ biographers and his son.
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