Excellent, Without a doubt!!

It's an amazing and heartbreaking story.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

We know from people like Bobby Darin and Jack Nicholson that, with the stigma of having an illegitimate child once so prevalent, the person you call "Mommy" might not be. Your real mother could in reality be your sister, your aunt, anybody.In "Her Sister's Secret" from 1946, director Edgar Ulmer keeps this film out of maudlin territory and presents a poignant story of a mother's pain at having to give up her baby for her sister to raise.Nancy Coleman stars as Toni, a young woman who meets a soldier, Dick (Philip Reed) during the New Orleans Mardi Gras. They fall in love, and he wants to marry her. They decide to wait until his next leave to be sure. When they part, they agree to meet, if they both feel the same, at a restaurant. Unbeknownst to her, his leave is canceled. He writes to her at the restaurant but the letter never reaches her. By then, she is pregnant. Toni finally confides in her sister Renee (Margaret Lindsay). She and her husband (Regis Toomey) have not been able to have a child, so she offers to raise the baby as their own. Toni agrees, but in her heart, she never really gives up the baby. After her father dies, she starts literally stalking the child and his nurse, sitting in the park each day. Truly alone now, she makes a decision that is going to cause problems.One can't help watching a film today and realizing how different things were when the film was made. Can you imagine someone sitting in a park each day, watching children, and a nurse handing you a kid and asking you to watch him for a minute? Like I suppose that happens. She would have been picked up by the police the minute someone notices she's there every day. We live in a much different society now.Also, having an illegitimate child was tantamount to being a criminal, so bad you had to disappear, return later with someone else having taken your baby, or say you were married and your husband died, or end up in a home for unwed mothers. Nowadays people take out headlines announcing an unmarried pregnancy. Amazing.Anyway, Toni is in terrible pain, and one can't help but feel for not only her, but all the women who went through that situation years ago. In Toni's case, because she believed Dick didn't love her, she could not get past losing the baby, Billy, too.The Mardi Gras scenes are marvelous, showing the festivities and people's enjoyment. The acting is very good, with Nancy Coleman giving a lovely performance as a heartbroken woman, and Margaret Lindsay as her sophisticated older sister. Philip Reed, who at some angles bears an eerie resemblance to Tyrone Power, is fine as the soldier who leaves without realizing he's going to be a father. Regis Toomey plays Lindsay's husband, and he comes off as a genuinely nice guy and a good man.How wonderful that the little boy who played Billy, Winston Severn, has posted here with his reminiscences of the film. Though he was only four at the time, his memories are strong. I really liked this film. The actors pulled me in, and it was well directed. Not the world's greatest production company, but it pulled off a winner.

Her Sister's Secret (1946)An enchanting double-entendre title, and a slightly forced but still effective melodrama. The time is intense—World War II—and the desperation of lonely men and women leads to the crux of the plot, a child born out of wedlock.This only happens after some decent character development, mainly between the man, a charming average fellow played by Phillip Reed, and the woman, who is the main character, Toni, played by a charming Nancy Coleman. Neither actor is well known, and you might make a case for their plainness here. Both are convincingly normal people—not the glowing stars that live in someone else's universe.Because these regular folk are facing a pretty common problem, though one that was hushed up or swept up at the time, at least amidst the upper middle classes depicted here. The large twist is the immediate solution to the problem, a believable convenience in wartime. It leads to emotional conflicts and some heartwrenching decisions, and eventually to a crisis involving really good and well-meaning people.Such is a melodrama.The filming is typical amazing 1940s Hollywood, dramatic and silky. Cameraman Franz Planar has a huge resume of quite good but not stellar films, but I've seen a number of them recently and am impressed by a steady professional richness to them all (I'm thinking of "Bad for Each Other," an odd but beautiful Charlton Heston vehicle). This visual sense helps hold the film up as it rises and falls through the streets of Mardi Gras to house interiors. It's all rather enjoyable if never quite riveting and demanding.This movie might be forgettable if not for the cult favorite director, Edgar Ulmer. And it truly is his panache that lifts a B-movie to something worth watching. It lacks the dazzle of his famous movies like "The Black Cat," but it still has a slightly daring social twist for the time. Give it a go on a quiet night when you can get absorbed.

This film was shown on TCM the other night and before it started there was Robert Osborne, lauding the talents of the director and saying what a great movie it was.I don't know what Mr. Osborne uses as his criteria for a great movie, but it sure ain't the same as mine.The acting was wooden. Everyone just stood there and spoke their lines at each other, not necessarily to each other. I've seen more emotion displayed by a marionette. The editing was choppy. In one scene the girl and boy are riding in a hansom cab and they're seated one way, in the next frame they've switched places, and then they go back to the first way.The sound quality was poor.I apologize to the reviewer who said he was so happy to have played the part of the child, but he was not that good and seemed to not even know what was going on most of the time he was on-screen.The story is an old one: an unmarried girl gets pregnant the first time she has sex, the father of the child disappears from her life so she goes away for 9 months and her sister/friend/mother tells everyone the child is hers, and the girl spends the rest of her life regretting her decision.The story was done much better by Bette Davis in both "The Old Maid" (where she plays the unwed mother) and "The Great Lie" (where she plays the one who adopts the child as her own). Don't listen to Robert Osborne and don't waste your time on this mess of a movie.

I really enjoyed playing the part of Billy Gordon in this film. Although I was less than 4 years old, I have vivid memories of the entire process of making this film. The studio lights in those days were very bright & hot, causing the ladies' makeup to run after a short time. The big camera used for close-ups looked like a giant eye which made me quite nervous. I didn't like the tractor being used to move the props around...A tractor belonged outside in my opinion...My 3 year old little mind thought of it like a mechanical Tyrannosaurus Rex with big hind wheels and small front wheels...Quite a scary dinosaur! I remember that the entire cast & crew were so kind to me on & off the screen. My Dad, Mom, brothers & sisters were very encouraging & worked hard to tutor me...Lots of rehearsals were done at home, so that there would be no mistakes on the set. There are relatives and friends who are interested in purchasing this movie...Do you know if it is available on DVD?