The Passionate Friends (1949) User Reviews

Antithesis of "Brief Encounter"

[Igenlode Wordsmith · 7/10 · 13 June 2008]

It's easy to associate "The Passionate Friends" to its detriment with "Brief Encounter"; in its voice-over/flashback structure, in its themes of suicide and adultery, and of course in the casting of Trevor Howard. But in a sense -- although not, unfortunately, an entirely successful one -- in a sense, the later film is an attempt to do something very different with this source material. At the most basic level the two pictures have virtually nothing in common: "Brief Encounter" is a story of renunciation and unselfishness, of ordinary lives in an unromantic setting, of heartbreak from a painfully honest narrator. "The Passionate Friends" (a title never really explained) revolves ultimately around selfishness and self-deception, lavish trappings and a shallow surface gloss epitomised by the cheesy 'Swiss' tourist music that backs the initial establishing shots.

Mary's swelling soft-focus memories of her grand passion are deflated by jarring little jabs from the director, in what I suspect is intended as an alert to the viewer that her romantic-seeming situation is not quite what it seems -- in effect, she is an unreliable narrator, and the pay-off comes when she perceives, finally and appallingly, what she really is and what she has done. It is a climax worth waiting for, but it is slow to arrive; and the subtle wrongness in the love affair, the self-dramatisation and lack of authenticity (whether or not these are deliberate attempts to undermine her presentation of events, as hindsight suggests they may be) until then tend to come across simply as unconvincing story-telling.

It is never clear just what Mary means by her assertion that she wants to belong to herself and not to any lover. By the end, however, it is all too apparent that this mantra, reminiscent of the "Can't tie me down, babe" slogans of the (male) serial shaggers of the Sixties, is every bit as self-indulgent a female pose. She is in love with the idea of being in love: playing at it, day-dreaming transgressions. But when reality strikes, the whole game is exposed as a silly, hugely destructive fantasy.

After the first showdown with her husband (which we are specifically, and with hindsight, significantly, not allowed to witness), she warns Steven that she is not truly a good person to love. We -- and he -- do not then either understand or believe her; but she is right. She is not prepared to give herself, in modern parlance to 'commit': but she will not let go either.

The trouble for me is that for most of its running length the film seems to be simply a somewhat off-kilter account of an adulterous affair, over-ponderous, with clumsy use of music and heavily ironic dialogue. (The cinema audience, young and out for a good time, spent rather more time giggling than I assume the director intended.) The cinematic tricks that are present, such as the abrupt cuts in the taxi scene, the nested flashback structure, or the montage of advertisements in the Tube station reading "Keep Smiling", "Strength" and "Saved", too often seem awkward or labouring the obvious. If the idea was indeed to subtly undermine audience preconceptions, it doesn't really work -- there is no equivalent here to the stunning shift in perception that exists between the opening sequence of "Brief Encounter" and the final unwinding of the flashback.

As the ambiguous Mary, Ann Todd is a strangely elusive presence. The character is at the heart of the plot and has the lion's share of screen time, and yet most of that time it's hard to get a grip on her beyond the superficial. I'm still not sure whether this is an intended result of the acting and/or direction, or a flaw in the film.

Trevor Howard carries off the role of the unfortunate Steven with angular charm and provides the requisite sense of bewildered decency; but as others have rightly remarked, it is Claude Rains, in what might appear a largely peripheral role, who steals the show. Rich, older, physically unprepossessing, and mildly affectionate towards his wife when he can spare a moment from the financial markets, Howard Justin is the face of moneyed security versus the romantic passion promised by Mary's once-and-future lover, and as such represents the trappings of a marriage of convenience rather than an actual human being. But almost from the beginning we are made aware that he is neither unintelligent nor unobservant; later we discover that he is not as complaisant as the other couple have assumed, and finally, that he can be hurt -- and can love -- as deeply as any other man. Over a mere handful of scenes in the course of the film Claude Rains manages to convey more tension and real emotional presence than anyone else, and it is this contribution that makes the final twist both plausible and satisfying.

"The Passionate Friends" is not the great film that I feel it is perhaps trying to be; but it is certainly not an abortive carbon-copy of "Brief Encounter". The resolution of the film is starkly effective and is worth sitting through a glossy and rather uninspired beginning for: as a whole, it can be seen as an honourable failure.

(Edit: for what it's worth, in the month since I saw this film I haven't been able to get it out of my head...)

Brilliantly told, lushly photographed, familiar romantic conflicts, but superbly packaged

[secondtake · 8/10 · 21 December 2011]

The Passionate Friends (1949)

You wonder how this movie would be told without the Hays Code (and its British counterpart) hovering over the scriptwriter and director. But here we have David Lean's version of the much older H.G. Wells novel (from just before WWI) with all the restraint of movie romances of the period. That is, without our modern idea of passion.

And that's one of the things that makes this really work. It's not about making love on the sly, or going rapturous on screen. It's about the complicated emotional needs and conflicts of three people. That's what passion boils down to, at least in a way that we want to spend time with. And though this is not a full fledged love triangle like "Jules and Jim" (it's one woman caught between two men), it does play with the clashing and melding of three personalities and their passions.

Oddly, you learn fairly soon that the passion of the older man, played by Claude Rains, is deliberately not passionate. That's not what he wants in love. The younger man (not by much) is played by Trevor Howard and he is a sweetheart, with a family, and yet he still has that pure ideal love for the woman he can't shake. Even though she is married to the older man.

The woman holds it all together, both in the story, since she is involved with both men, and in the movie, played with amazing force and nuance by Ann Todd. When she first appeared on screen, thinking to herself on a plane taking off, I thought she was a little like Joan Fontaine, and since I love Fontaine, I was going to be open to this inferior version. But she wasn't inferior one bit. The longer the movie went on, the more I realized what a deeply felt, complex performance Todd gives. She not only has to be a different kind of woman with each of the men, she has to do so in different time periods over about eight years. Great stuff. I want to watch it again just to appreciate her. She was almost wholly a British actress, not moving to Hollywood, and so she never had an American audience the way some of the more famous stars here naturally did. Too bad for everyone.

The movie, as such, has a little inevitability to it--not that we know how it will end, exactly, but that we know how it will probably end, the one or two main options. The rivalry, the jealousy, the caught looks across a train station, the views from the Italian Villa, all the clichés are here. They are all perfectly handled, for sure, but an edge of originality would have helped a lot. I'm very curious to read the Wells book just to see how complex he makes the woman, and the story. And to check the ending he had in mind in 1913.

Lean, the director, is a legend of course. He made so many really fine films, important ones, it's easy to overlook this one. Even the slightly similar (in feel) "Brief Encounter" from 1945 casts a huge shadow here. Throw in "Lawrence of Arabia," "Dr. Zhivago," "Blithe Spirit," "Bridge over the River…." You get the idea.

See this. Expect nothing sensational, and you'll be sucked into a really superb, conventional, beautiful romantic drama. I just read (and gave a thumbs up) to a long review for this film that seems incredibly perceptive, but which maybe forces too much analysis onto the motives of the players here--especially for someone who hasn't seen it yet. I suggest getting sucked in and taking the advice to be patient, but also forging your own view of the events and hearts involved.

"Your love is the romantic kind"

[Steffi_P · 7/10 · 11 August 2007]

For The Passionate Friends David Lean treads similar ground as he does in his masterpiece, Brief Encounter, although here the source material is an HG Wells story as opposed to a Noel Coward play.

The post-war Lean, with his attention to psychology and emotions, handled these stories of problematic romance brilliantly, and The Passionate Friends is a great example. We open with clouds and snow-capped mountains, a holiday location that foreshadows Lean's Summertime (1955), straight away giving us a sense of dreaminess and soaring emotions.

This is Lean at his most psychological and expressionist. The sound and imagery is always calculated to mirror feelings – like the abruptness of the plane wheel touching the ground when Claude Rains returns from his trip abroad. The acting really supports this too. Considering it's a story about a love triangle, a large amount of the story is told through scenes in which one of the three principal characters is alone, or at least unobserved, and the actors convey inner thoughts through subtle expressions and gestures.

Also, like the bulk of Lean's pictures from this era there are references to the war and the impact it had on British society. It's probably no coincidence that the decision was made to set the flashbacks of the affair in 1939 (Wells' original story was decades older), the year that war broke out. The cold, bureaucratic Claude Rains seems to be in part symbolic of the necessity in wartime to be rational and emotionless, and the story is an allegory for the need to break away from that.

While it is a good story and very well-made, The Passionate Friends is unfortunately no Brief Encounter. On the acting side, Claude Rains is brilliant as always, but I'm less convinced by Ann Todd, who perhaps got the part more because she was Mrs Lean that for her talent. The plot can be a bit confusing with its flashbacks within flashbacks. Probably the biggest problem though is that we never get to totally empathise with the characters. While Brief Encounter's sheer ordinariness made it so universal, you don't get this to the same degree here, and that makes it by far the weaker of the two pictures. Still, it's by no means a disaster, and still one of the better films of David Lean's 1940s output.

Ann Todd and Gorgeous Photography

[drednm · 27 August 2008]

THE PASSIONATE FRIENDS is a truly underrated film by David Lean. A simple story about a married couple and what happens when, over the years, the wife (Ann Todd) falls in love with another man (Trevor Howard) who eventually marries someone else. Todd must then reconcile her married life (to Claude Rains) with the realization that "romantic love" is not always the right answer.

The film was quite controversial in its day because of the adultery theme, and it stands up quite well today because the film is very honest and very adult as it examines the dynamics of marriage and love. The film was retitled ONE WOMAN'S STORY for American theaters.

The three stars are all superb under Lean's direction and turn in performances that allow the audience to sympathize with the characters caught in the web of love, desire, and deceit. Photographed in glistening B&W by Guy Green, the film is just gorgeous in its use of close- ups and on-location photography.

Trevor Howard plays the "other man" in a straightforward way. He seems a decent sort of guy who just happens to fall in love with another man's wife. When it becomes clear that things will not work out, he moves on, marries, has children, etc. but never forgets.

Claude Rains is excellent as the tolerant husband, an older man who knows his younger wife does not really love him. But after he reaches his breaking points (after the Swiss tryst) and files for divorce, he becomes a man of passionate rage.

Ann Todd (Lean's wife) is superb as the conflicted wife who waivers between romantic love with Howard and sensible love with Rains. Even at age 40, Todd here is simply gorgeous and lovingly photographed in beautiful close-ups.

When the divorce papers are filed and all three people are thrown into emotional turmoil, Todd realizes that the only way out is to plead with Rains to stop legal actions. In a brilliant scene, Rains rages and admits that his idea of a "sensible" marriage have been shattered because he has fallen in love with his own wife. Devastated (but not hearing the full confession) Todd decides to take drastic action as a way ofending everyone's emotional pain.

Perhaps not as great as BRIEF ENCOUNTER, this film nonetheless packs a huge emotional wallop thanks to the three terrific performances. Highly recommended.

Passionate Lovers, But Better Friends

[bkoganbing · 7/10 · 21 November 2006]

I was surprised to learn that the original story for The Passionate Friends was written by H.G. Wells. Someone nowadays we identify with the science fiction genre. Certainly it seems to be what has survived best in English literature.

The original story was written in 1913 so some considerable updating was done to make it 1949 contemporary. Lovers Ann Todd and Trevor Howard had an affair back in the day which was ended when Todd's husband Claude Rains found out.

Eleven years go by and Todd and Howard meet at a mountain ski resort in Switzerland. Howard's now married and moved on, but they spend an innocent afternoon reminiscing. Rains catches them and misinterprets with near tragic results.

Ann Todd may be one of the most beautiful women ever to grace the silver screen. She's probably best known in America for being Gregory Peck's loyal wife in The Paradine Case. No wonder Rains is so jealous.

Trevor Howard is essentially doing the same part for David Lean that first got him stardom in Brief Encounter. In fact the story could almost be what happens to the protagonists in Brief Encounter if they met up again in the future. Claude Rains is always right on the money with his portrayals. There's a lot of what John Barrymore did in Maytime in what Rains does here.

If it were done here in the USA, this would have been labeled a woman's picture. It is in fact a nicely done romantic story.

Ann Does Claude Wrong With Trevor

[theowinthrop · 9/10 · 29 January 2007]

I think that most people will admit that Claude Rains was one of those character actors who transcended their lack of handsome features (or likable features) to be a real movie star - even though most of their roles were types involved in the plot for better or ill. He is in that select group with Basil Rathbone, Charles Laughton, Sidney Greenstreet, Laird Cregar, Vincent Price, George Sanders, Boris Karloff who dominate films they pop up in even though they are not the hero. When they are the hero, when Rathbone is Holmes or Sanders Uncle Harry or Laughton is Sir Wilfred in WITNESS FOR THE PROSECUTION we are especially happy. Rains too occasionally played nice guys, although with an edge. In the late 1940s he twice appeared as a wronged husband, first in Mitchell Leisin's SONG OF SURRENDER (1946) and once in David Lean's THE PASSIONATE FRIENDS. SONG OF SURRENDER (with Wanda Hendrix and MacDonald Carey) is the weaker of the two films, but has some good touches by Leisin's direction and due to Rains' acting. THE PASSIONATE FRIENDS has a better, more brittle screenplay, and David Lean's direction complements Rains' performance.

Rains is the husband of Todd, who on a vacation meets Howard. In a sense this film is a kind of inverse version of BRIEF ENCOUNTER (which also was directed by Lean, and starred Howard), but that film concentrated on the sad, inevitably doomed love of the two middle aged people who cannot marry each other. Here we are seeing the triangle from the point of view of the husband - in the earlier film, Celia Johnson's husband was a cypher who only seemed to come alive at the tail end of the film. Rains is not immediately seen, but he is in the center of events from the start.

For Rains quickly learns of the affair. British people are supposed to be quiet about their private lives, and they don't like the snooping of others in hearing about their problems. So when he first appears to confront Howard and Todd it is in the flat he and Todd live in. He is polite but quietly outlines what he knows, and Howard at the tail end suggests that possibly he (Howard should leave). Very effectively we hear Rains marvelous speaking voice spitting out (one can imagine him shaking with anger) "GET OUT OF HERE!" The film follows the relations of the trio. Try as she does to avoid Howard, Todd keeps returning to him. Rains ignores the facts as much as possible, but finally when he is to meet Todd at a vacation hotel, he realizes that the behavior of everyone on the staff is proof that she has been seen there with Howard. There is again an explosion, and the marriage seems doomed.

I saw THE PASSIONATE FRIENDS only once in the early 1980s, and it amazed me for telling about a sexual triangle simply and with dignity - and for giving the husband (finally) equal time to present his case - for the highpoint is a speech near the end when the depth of the real emotions of Rains pours out - when his care for Todd is fully expressed. Rains had many great moments on screen, but in all honesty this was his most human moment. For that alone the film is worth remembering.

My brief review of the film

[sol- · 6/10 · 20 February 2006]

A rather early entry in David Lean's career, his directing skills show through in some dramatic moments that require intense atmosphere. Nevertheless, the film is not the best example of Lean's abilities - both before and after it he directed superior productions - but this one is still okay viewing. With many flashbacks melded in with the plot, some are better done than others, and likewise, sequences showing the thoughts and dreams of the characters vary in effectiveness. There is a memorable sequence that features multiple telephone tracks, and there are also a few other neat tricks in the mix. The cinematography is quite good, and the cast keeps the film at an interesting level. Still, it is primarily of interest to followers of Lean's work.

"You are happy, aren't you ?"

[CC_qqqwerty · 9/10 · 2 May 2020]

This film surprised me a lot. I watched it merely out of curiosity; by the end of the film, I was struck by Ann Todd's performance and had to watch the film twice back-to-back. She expressed her character's inner turmoil so well that I wonder if she was playing herself. I profess I don't watch a lot of movies, barely up to 2,000 films. However, that is only because I am damn picky.

This is rather a mature story of romance. How a relationship could evolve from a marriage of convenience to a real thing of beauty between two people. How one's maturity could evolve from a real thing of passion to a mental state of contentment and stability. It's also a story of irrational jealousy that could potentially negate a prosperous family life.

This is a good example of a film where filmmakers do not have to resort to gratuitous, meretricious scenes to portray lust or passion.

The Passionate Friends

[CinemaSerf · 7/10 · 4 January 2023]

Ann Todd puts in quite a strong performance in this quite sensitively presented drama as "Mary", a lady contentedly if not ecstatically married to financier "Howard" (Claude Rains). One afternoon she bumps into "Prof. Stratton" (Trevor Howard) and that rekindles memories of a pre-war romance. When her husband has to go to Switzerland on business, she accompanies him and yes, you've guessed, she encounters "Stratton" again - though this time her husband spots her distress when they part and she is rumbled. This is another solid effort from David Lean that allows the performances to develop at their own pace; the characters each have flaws and strengths and his adaptation of this lesser known HG Wells story is quite a poignant and characterful look at how the choices we make evolve and change over time. The title is a bit misleading - for passion is really the one thing that is truly absent throughout, but Rains and Howard - two distinctively different style of actors work well as the foils to Todd's uncertain and needy "Mary" who is probably far more excited by the idea of love rather than actually experiencing or enjoying it. I could have done without her narration - it distracted me from an otherwise superior drama that is certainly a delight to watch, if not necessarily one with characters to admire.

Claude Rains' love is of the romantic kind........

[jem132 · 8/10 · 31 March 2008]

David Lean's criminally underseen THE PASSIONATE FRIENDS has often been hastily dismissed as a weak "sequel" to his earlier masterpiece BRIEF ENCOUNTER. It's not. While it isn't the classic BRIEF ENCOUNTER is (not many films are), it has much to recommend. And it's not a sequel at all. Yes, it does deal with the same central theme of BRIEF ENCOUNTER (a married woman having an affair), and is a follow-up in the sense that the couple meet again years later, but the characters are entirely different.

The film is told in a non-linear fashion, with lots of flashing forwards and backwards (it works well, yet is occasionally distracting). The plot basically is this: beautiful Mary (cool blonde Ann Todd, who had scored a huge hit with THE SEVENTH VEIL four years later and had recently married Lean) is in love with a young student Stephen (Trevor Howard), yet marries Claude Rains. Stephen and Mary drift into an affair after her marriage, and they are found out by an enraged (yet off-camera) Claude Rains. Years pass, and Todd, still the dutiful, notably childless wife of Rains, runs into Howard while they are both holidaying. The encounter is entirely innocent, yet Rains again finds out and assumes the pair are re-starting something that is now dead (Howard has since married, and had children). All this almost ends in tragedy, as Rains discovers how much Todd really does mean to him.

Todd's somewhat detached screen presence works well for her character. The film is adapted from a short story by H.G Wells that explores an emancipated, beautiful young woman who rejects passion in favour of security. A poignant and telling scene between Howard and Todd early in the picture displays this notion- Howard:If two people love each other, they want to belong to each other. Todd: I want to belong to myself Howard: Then your life will be a failure Todd's marriage to Rains is a union of convenience. She can have the finer things in life she is accustomed to, she has the freedom to do as she pleases, and she's secure. Rains seems happy with this arrangement, telling himself that his love for her is also without true passion, until the crucial, revealing final scenes. These scenes constitute some of Rain's finest emotional work on film, as he spits at Ann Todd that she has treated him with all the kindness "that she would treat a dog". Rains comes to realise that his love for Mary is indeed "of the romantic kind", the same love that he denounces to Howard earlier in the picture. However, Todd, trance-like and thinking she has ruined several lives (potentially breaking up Howard's marriage, and also her own), walks to the train station and tries to commit suicide, ANNA KARENINA-like (she gets her own Garbo moment!). Rains, having followed her, pulls her back and takes her back home with him. While not a comforting ending, it seems to fit the picture well .

As I said earlier, Rains is excellent, and this is one of his best performances. Unfortunately audiences tend to take the wonderful Trevor Howard for granted, and he is always an assured presence. Todd's beauty seems to be worshiped by husband Lean who gives her plenty of exquisite close-ups. As with THE SEVENTH VEIL, Todd is asked to carry much of the narrative weight of the film (the flashbacks and so forth), yet she works well and is particularly effective in a painfully bittersweet scene in which she imagines Howard as her husband, taking her into her arms, instead of Rains.

A strangely detached experience

[blanche-2 · 7/10 · 29 June 2009]

As countless people on this board have pointed out, comparisons of David Lean's "The Passionate Friends" and David Lean's "Brief Encounter" are inevitable, though probably not correct. This is a very different story.

Told through the narration of the main character, Mary Justin (Ann Todd), it's the story of a man, Steven Stratton (Trevor Howard) and woman (Todd) in love who don't marry because he can't give her the good life. Instead, Mary marries financier Howard Justin (Claude Rains), whom she likes but doesn't love. Howard knows this, and, not being in love with her, so he thinks, doesn't mind.

Five years later, she meets Steven again, and they become re-involved. Steven is unattached and, when Howard finds out, he expects Mary to run off with him. She doesn't. She asks him to leave and not see her again.

Ten years later, while Howard is on a trip, both Mary and Steven run into one another in Switzerland. This time, Steven is happily married. Nothing goes on between them, but Howard doesn't believe Mary when she tells him that.

"Passionate Friends" is an interesting psychological drama, really focusing on Howard and Mary. Claude Rains dominates throughout the film - restrained through most of it, when he lets loose, it's really something. Howard is very likable as Steven, who is jerked around by Mary over the years.

My feeling is that the film was supposed to focus on Mary, but this was derailed by Claude Rains' performance and Todd's (Mrs. Lean) detached quality. She's very good, but the character remains an enigma. Mary can't make a commitment. At the end, when she realizes the devastation the situation will bring, she's ready to sacrifice everything so that it doesn't.

Parts of "Passionate Friends" are very strong, but some of it, due to the flashback within a flashback, gets a little confusing. Nevertheless, the performances are strong, and, if it's not entirely successful, it's at least a fascinating "not entirely successful" instead of just being bad.

A story for adults

[samhill5215 · 8/10 · 26 August 2008]

Invariably this film is bound to be compared to "Brief Encounter" and I guess that's to be expected given they were both directed by David Lean, starred Trevor Howard and featured adultery. Frankly I think any comparison to be unfair because that's where their similarities end. I've seen both and I favor "Passionate Friends". I should add that Ann Todd is not one of my favorite performers. Her demeanor can be expressionless and somewhat off putting. But here she truly shines. In Lean's extensive close ups she reveals inner feelings without uttering a word. And her smiles are explosively radiant. She utterly owns this part. The male parts are equally excellent. All the performances wrap the viewer with their passion and involve him in the characters' fates. This is not light viewing. It's an emotional roller coaster and as the climactic finale unfolded I found myself talking to the screen trying to influence the outcome. Without a doubt this is a story by adults, for adults. Highly recommended.

Passionate Friends-Is Really another Trevor Howard's Brief Encounter- **1/2

[edwagreen · 6/10 · 4 July 2009]

Passionate Friends has Trevor Howard and Ann Todd as former lovers meeting quite by accident 9 years later. This represents another "Brief Encounter" for Howard but this time there is plenty of trouble for him.

The usually reliable Claude Rains plays Todd's husband. We view an absolutely loveless marriage which is more of marriage for convenience, comfort and prestige for both of them.

You would think that something really exciting would happen when the banker Rains goes off to Berlin in 1939. Remember what happened to him when Fanny (Bette Davis) drove him away to Germany in the memorable "Mr. Skeffington?" This picture doesn't have the passion at all. The film never really explained why Howard and Todd never married before her marriage to Rains.

The ending is like a production out of Hallmark. As in "Brief Encounter," Todd like 'Encounter's' Celia Johnson, almost throws herself on to the tracks. Was this a usual means for David Lean?

Close-up Miss Todd

[BILLYBOY-10 · 3/10 · 20 May 2017]

I hear David Lean married his star Ann Todd during the filming of this flick so that would explain the inordinate number of grueling close-ups of the ever suffering Mary in this long drawn-out soapy melodrama.

Mary loves Steve and vice-verse but she wont marry him because she wants to be herself or whatever and she is last seen fleeing the scene.

The movies begins at a ball in or around 1948 then a flash-back to another ball 1938-39 new years, then a flash-back within a flash-back at scenes of love and love. Confusion ensues, at least for me because I'm not sure if it's suppose to be circa 1948 or flash- back #1 or #2.

Anyway, Mary ends up marrying much older but ironically filthy wealthy banker Claude Raines (bad toupee) because she likes his money and their twin beds.

Then she meets Steve again and loves him again and they have an affair and she is gonna leave Claude for Steve but doesn't but then he wants a divorce and she doesn't and then he kicks her out of the mansion and she goes down the near-by tube station to plunge herself in front of a train but Claude miraculously appears and saves here and they go off to the mansion and I guess live miserably ever-after (meanwhile Steve has married and has two kids and seems happy or not, I'm not sure). I never heard of this film before (no wonder) and only watched it on FilmStruck because of David Lean. Well, you can't win them all.

aka One Woman's Story

[petershelleyau · 13 October 2001]

This Rank/Cineguild production directed by David Lean is based on a novel by H G Wells, here adapted by Lean and Stanley Haynes, though with a screenplay credited to Eric Ambler. Although the plot is about a triangle, Lean's focus is on Ann Todd as the woman between two men, her husband and the man who was her first love but whom she refused to marry. Her situation is presented in an exchange between the man, Trevor Howard and Todd - "If two people really love each other they want to be together. They want to belong to each other", Todd - "I want to belong to myself", "Then your life will be a failure". However in the tradition of upper class Brits, Todd's life of failure means a marriage to a successful banker, Claude Rains. The narrative has an unusual triple flashback structure, which is perhaps why it needed three writers, with the present being narrated by Todd with the prospect of a divorce, and flashbacks to the vacation in Switzerland where the instigating incident occurs, Todd's memory/flashback of 9 years earlier re-meeting Howard, and small memories of their first romance. The initial meeting is tainted by lines like Todd's "Why can't we be in love without the clutching and gripping", though later Todd admits to "not being a very good person". Howard's character has his ambiguities too, being a university biology lecturer who knowingly has an affair with a married woman. The infidelity gets a funny spin by Rains' business with Germany and Italy pre-WW2, and Rains saying he has "a taste for intrigue", though the film being made post-WW2 allows him to speak of the "Teutonic hysteria" of the Germans. In spite of some of Lean's technical touches, the thing that de-passionates the situation is Todd, in her first film for her then husband. Whilst at times she resembles Garbo, the rather butch Todd lacks the divine one's expressiveness, with Lean reduced to filming her running from Howard in slow motion to give her some lyricism. All three of the leads are oddly lit indelicately, perhaps to suggest that all this passage of time has aged them, but this with Todd, adds to the destruction of romantic intent. Lean provides a vocal montage of telephone conversations, cuts from a kiss to a bunch of flowers, doors slamming to a typewriter slide of the divorce document, gives Rains a cuckold paranoid montage, and has a "Keep Smiling" poster featured in the background of the climactic scene in the train underground, though the idea of Todd not buying a ticket before she enters rather pre-empts things. Rains has the audience empathy, even if the odd way he stand in a ¾ pose when he confronts someone seems silly. He is the more emotional of the three, but because of the British standards of polite behaviour, his yells are either heard off-camera or with his back to us. The best scene reads as Hitchcock-influenced with Rains dictating to his secretary and Lean continually cutting to a pair of tickets to a play Todd and Howard go to see. The title First Love gets a comic payoff when we hear it is a musical with a fatuous title song.

the passionate friends

[mossgrymk · 7/10 · 8 April 2021]

Ironic title, huh? This early David Lean film is typical late 40s British cinema, stiff and bloodless. Except for a lone "Get out of here!" spoken by cuckolded Claude Raines to his cuckholder, Trevor Howard, the proceedings are in the best stick up the rectum tradition that the Brits perfected and which drove the French, especially young film makers like Truffaut, crazy all through the 1950s until, with the advent of the Angry Young Men and the Kitchen Sink genre, English movie dramas finally began to loosen up. Viewed now it all seems a bit overblown and overdone with too melodramatic music and rather obvious cinematic devices, like a cold wind blowing through opened curtains and ticker tape emptily clacking to let us know that Raines' character is callous and emotionless. Still, Eric Ambler's dialogue is literate, Lean's pacing is excellent, as usual, so that the film rarely drags and Raines has rarely been better. Plus, he finally gets the girl in the end! So how can you hate this movie? Give it a B minus.

A forgotten masterpiece

[MOscarbradley · 10/10 · 26 September 2016]

This David Lean romance seems to have been swept under the carpet and yet it may be his most underrated masterpiece, (it's infinitely preferable to such elephantine fare as "Ryan's Daughter" and "Doctor Zhivago"). It marked the first time Lean would abandon the studio for more exotic locations, (in this case, the Swiss Alps), and seems designed as a vehicle for his wife, Ann Todd, who is outstanding as the respectable English wife who dallies with an old flame who happens to check into the room next door at the hotel she's staying in while on holiday. He's Trevor Howard and it's as if this is what might have happened in "Brief Encounter" had the lovers a bit more chutzpah.

Howard, too, is superb, (he always was; he remains one of the most underrated of all the great actors), and Todd's husband is the consistently excellent Claude Rains at his very best. As a tale of a genteel marriage threatened by genteel adultery it's beautifully done and why it isn't more highly appreciated is something of a mystery. If, like me, you believe Lean to be one of the great directors then this is essential viewing.

A Musical Note

[howardmorley · 7/10 · 8 February 2009]

When I saw the trailer for this 1948 film on "UTube", I was immediately struck by the similar musical format to "Brief Encounter".In the latter film, Lean wisely increased the dramatic tension by adding a classy soundtrack by selectively dubbing on Rachmaninov's 2nd piano concerto in C minor (played by Eileen Joyce).In "The Passionate Friends" he dubbed on the adagio second movement of Grieg's famous piano concerto in A minor.By casting Ann Todd as the leading lady he added more verisimilitude in the minds of the paying public who had previously seen her play a concert pianist in "The Seventh Veil (1945).As I have only seen the trailer I have graded it 7/10 which was the average universal rating of other informed reviewers many of whom have given very sagacious comments above.

Brief Encounters

[st-shot · 8/10 · 7 June 2013]

The Passionate Friends is the first of three films that director David Lean made with Ann Todd in and she gives a fine performance in this mannered British melodrama that evokes in ways two other popular British films of the era, Lean's Brief Encounter and the Todd starring The Seventh Veil.

Former lovers Mary Justin (Todd) and Steven Stratton (Trevor Howard) meet accidentally at a New year's party and rekindle lost feelings. Trouble is she is married to a wealthy banker Howard Justin (Claude Rains) and Stratton's in a committed relationship. Justin discovers the affair however and puts an end to it. Nine years pass and they meet again while vacationing. Stratton is now married with kids but Howard thinks otherwise and files for divorce. Mary becomes desperate and suicidal.

With quality performances (especially Rains) from all of the leads The Passionate Friends is credible melodrama that overachieves with Lean displaying his superb grasp of film language, employing jump cuts, montage and juxtaposition for maximum effect. With a few Hitchcock like flourishes along the way he does an excellent job of keeping the audience guessing right up until the final minutes. It is this subtle triumph of form that makes The Passionate Friends a superior example of its genre.

One of the Greatest British Classics, Superior to 'Brief Encounter'

[robert-temple-1 · 10/10 · 17 December 2008]

This film is one of the highest peaks of David Lean's achievement as a director, and possibly it owes something to the fact that he married its star Ann Todd in the same year, which may have helped him elicit her supernaturally radiant performance. Four years earlier, Lean had made 'Brief Encounter', but this film, again with Trevor Howard as the romantic male lead, far exceeds the earlier work in subtlety and genius. Every frame is lovingly composed, and the film is a cinematic masterpiece which can stand beside any Visconti work for comparison. Three future directors worked on the film: Ronnie Neame as producer, Guy Green as Cinematographer, Clive Donner as an editor. There were three editors, and whoever was responsible for it, the final editing is a work of the highest genius. The cinematography by Guy Green and camera operating by Ossie Morris are as good as they get. Everything combined to make this film a triumph and a true work of art. The three stars, Trevor Howard, Ann Todd, and Claude Rains, all excel themselves as they enact this intimate study of a love trio, as if we were standing invisibly beside them and could see it happening, without their being aware of our presence. The tale is drawn from a novel by H. G. Wells. The novel was made into a silent film in 1922 by the famous British director, Maurice Elvey, but it is doubtful that a print of it survives, and I have never heard of anyone who ever saw it. Eric Ambler wrote the screenplay for the Lean version, with immense subtlety. The only one of the three main characters who does not have a major character flaw is Trevor Howard, who is the unfortunate emotional victim of the other two. Ann Todd's character flaw is like an invisible crack in a Ming vase: you can't see it, but the value is immeasurably lowered, as she keeps trying to warn Howard, who cannot believe it: 'My love is not worth much,' she says, and he does not hear her. She has running through her the most abject streak of cowardice, nearly impossible to detect except in extremis, but which reduces her to the status of what one would find for sale at a discount in a cracked china shop. (There used to be such a shop in the King's Road in Chelsea.) Ann Todd shines and is deeply loving and 'true', but repeatedly collapses at the crucial moment and betrays herself every time. This film should really be shown to psychology students (that is, if they could stop studying rats and take an interest in humans). Claude Rains's character flaw is a total denial of love and feeling, as he is convinced he can live without them, that they are unnecessary indulgence. Well, you can imagine the complications. Or perhaps you can't. Better to see the film. In fact, everyone should see this film who has any sensitivity, while those without sensitivity should avoid it, as they will not understand a single thing. What is evanescent is invisible to those with dull inner sight. Psychologically speaking, we have here the intricate elucidation of an invisible character flaw in a woman who appears perfectly normal, warm, glowing, and delightful. Ann Todd's performance is perfectly judged, as it is the very invisibility of her flaw that provides the emotional shock value for the film, and its importance as a lesson to us in human imperfections.

Sort of like "Brief Encounter, Part II" but better

[planktonrules · 9/10 · 27 June 2009]

As I watched this film, I couldn't help but thinking that it looked an awful lot like BRIEF ENCOUNTER. Like this other film, Trevor Howard plays a man who is married (once again playing "the other man") but in love with someone else (Ann Todd). In addition, the music, cinematography and style all look like BRIEF ENCOUNTER. The big difference is that instead of two married strangers meeting and falling in love, this film concerns two people who were once in love and have since gone their separate ways. Now, they meet once again and the old love is rekindled--even though she is now married to another man (Claude Rains).

The film is told through flashbacks. The first is when the two were both single and in love. Somehow, despite their love, they separated and went their own way. Several years later, Todd is married to Claude Rains and meets up with Howard again. They begin an affair but Rains soon finds out about it. Despite it looking like Todd will leave her husband and go with Howard, she stays. Now, almost a decade later, Todd and Howard meet by chance in Switzerland. She is still married to Rains and Howard has finally married as well. In an interesting daydream, you see Todd imagining that when they met again that Howard had told him he never married. Only if...

Now in Switzerland, the two old lovers spend a lot of time together--boating, hiking and the like (though, like in the rest of the film they never get around to sleeping together). Unexpectedly, Rains arrives back at the hotel unexpectedly early to find that his wife, once again, has taken up where she left off a decade earlier. He is furious and is determined to not only divorce her once and for all, but name Howard as the co-respondent--thus ruining Howard's marriage as well.

What happens next, is simply amazing and makes the film. Up until then, the film seemed to excuse or even glamorize adultery. However, in a splendid twist, Rains' character opens up emotionally AND the film's ending is simply terrific.

Like BRIEF ENCOUNTER, I was at first irritated with the couple because of their selfishness. Rains seemed like a nice enough but perhaps too emotionally-controlled guy and Todd cheating on him just seemed tawdry. Had he been a monster or if the affair didn't damage others or if she had divorced Rains and later taken up with Howard, then the film would have resonated more with me. However, the last 20 minutes of the film really turned my opinion around.

Exceptionally well-paced, interesting and worth seeing--I ended up liking this one much more than BRIEF ENCOUNTER. I'm glad I stuck with it.

Boring Encounter

[kenjha · 5/10 · 16 June 2013]

Lovers meet again after they had gone separate ways years earlier when she married an older man. With the parallels to "Brief Encounter," there is little doubt that Lean was going for another success like the 1945 classic. He even has Howard again playing a man involved with a married woman, but the magic is not there. In fact, it's quite a dreary affair based on a novel by Wells of all people. Not only is the script meandering, but the story is poorly structured, with flashbacks within flashbacks. It's a shame because a good cast is wasted. Todd, whom Lean married shortly after making this film, is radiant as the woman at the center of the love triangle. Howard as the lover and Rains as the unromantic husband are both fine.

I can't breathe

[deexsocalygal · 9/10 · 6 June 2020]

I just now finished watching this for the first time & my heart is beating so fast, my hands are shaking, I feel like I'm going to cry, & I can't breathe. This movie took my breath away! I am now adding this to my top 10 favorite movies. For anyone thinking about renting this rent it you won't regret it. The ending is the most powerful part of the whole film.

Will you always want to belong to yourself?

[brogmiller · 8/10 · 15 April 2020]

H. G. Wells wrote his novel in 1913 and it was first filmed by Maurice Elvey in 1922. By all accounts David Lean was reluctant to take it on and did so only as a favour to Ronald Neame. Once he agreed to do it however nothing less that the very best would do. Although Eric Ambler is credited with the screenplay, he was aided considerably by Lean and Stanley Haynes. Ann Todd with whom Lean had initial 'temperament' problems and Trevor Howard are both superb as the lovers. Howard replaced Marius Goring who would not have suited. Lean had a habit in his films of sometimes making an actor in the cast feel 'left out'. In this case the victim was Howard. The film actually belongs to Claude Rains for whom Lean had the deepest admiration. His portrayal of the betrayed husband is consummate and a masterclass in great film acting. Lean's own verdict on the film? 'Very nearly very good but a little cold'. I feel he was being unduly harsh on himself as anyone who is left unmoved by the final scene has a heart of stone. The film was criticised at the time for its extensive use of flashbacks. Ones heart goes out to those poor souls in the audience who get so easily confused! Lean's mastery of the visual, his 'cutter's' instinct and the excellent performances make this an absorbing and immensely satisfying film.

A darker not-so-brief Encounter

[bobvend · 9/10 · 26 March 2014]

Although it bears many similarities to David Lean's excellent Brief Encounter (released in 1945), this effort adds a decidedly darker dimension to the familiar tale of illicit lovers. The Passionate Friends contains a wonderfully creepy Noir feel, with an almost Hitchcock-like suspense, especially in the way the camera angles in on the characters, emphasizing the inherent volatility of their situation.

Much of the foreboding Noir doom can be attributed to the wonderful Ann Todd, who can't help but possess the dangerous look of the quintessential femme fatale, even when she's happily drinking in the excitement of a speedboat ride on a sun-drenched lake. She in fact might well have made the perfect "Hitchcock Blonde" ten years later.

The venerable Claude Rains and Trevor Howard suit their roles to good effect, especially Rains as Todd's suspicious husband. The film ends predictably, with a production code-approved resolution. But it's well worth a look, and stands up well alongside Lean's earlier Encounter.