“Aimee, you have got to snap out of it: you’re not the first girl to go through this, and you’re not going to be the last!”
When her husband (Paul Jenkins) suddenly decides to divorce her, a woman (Trish Van Devere) struggles to create a new life for herself.
Genres, Themes, Actors, and Directors:
- Feminism and Women’s Issues
- Melvyn Douglas Films
This hard-to-find melodrama — made shortly before Martin Scorsese’s Alice Doesn’t Live Here Anymore broke ground in American feminist cinema — is earnest and well-meaning but ultimately a disappointment. While Van Devere (George C. Scott’s wife) is an appealing heroine, and tries her best with the material she’s been given, she can’t quite overcome either the pedantic script or the amateurish performances of most of her co-stars. The best, most natural scenes involve Melvyn Douglas as a widowed grocer who helps Van Devere to break down her shell of defensiveness and accept her loss (what a breath of fresh air his presence is!). While the script finally begins to build some steam towards the end — when Van Devere takes a chance on love with a mysterious stranger (Monte Markham) — it can’t quite make up for the pedestrian narrative that’s come before.
Redeeming Qualities and Moments:
- Trish Van Devere as Aimee
- Melvyn Douglas as Aimee’s widowed grocer friend
No, but Van Devere and Douglas make it worth a cursory look if you stumble upon it on television. Listed as a Sleeper in the back of Peary’s book.