That was an excellent one.

Instant Favorite.

I don't have all the words right now but this film is a work of art.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

My Reputation (1946)This comes at the real peak of Barbara Stanwyck's career, a couple of years after her now most famous film, "Double Indemnity." And she's terrific, playing from the first minute a widow who now has to put her life back together, all with the equally terrific Lucile Watson as her strong willed mother. There is also the dependable Eve Arden as a sidekick, not so different than Joan Crawford's in "Mildred Pierce," and the perfectly cast Jerome Cowan as a suitor who moves in on her before she has quite realized she's a widow. Eventually the stellar cast is filled in by George Brent, ever stable and likable…with his inevitable appeal to the main character.So this is a great 1940s drama, filled with deep sentiments, tight friendships, distraught characters who need more than they can ever get, and rays of hope. It fits the needs of an audience which was filled with women recently widowed, either literally or figuratively with men returning from the war not ready to be the men they were before going away. It is 1946, after all, a giant tipping point in American social life.Do you want more reasons to love this movie? The music is by the legendary Max Steiner (who scored "Gone with the Wind" for starters). And the cinematography is by the superb James Wong Howe (who shot the stunning "Sweet Smell of Success"). What slows the film down at all is plain old chemistry—Brent is not a convincing leading man, for me, and he and Stanwyck don't seem capable of really smoking on screen. The plot does imply a formality at first, and so it makes sense as far as that goes. But eventually we are meant to feel both characters in their loneliness, and their longing for each other. The war literally comes into play, and it must of struck painful chords in many.One of the more interesting aspects is the problem of a widow dating a new man with the eyes of her friends and neighbors watching, and disapproving of, her every move, reaching the point of scandal for no reason. I'm sure the point of the movie is partly to push that point, so the world would be be more understanding. There is a huge scene at a party, just before the new couple rushes to Chicago for a dramatic New Year's Eve. So imagine a vividly photographed, highly emotional drama that fit into the needs of the times perfectly. Does the movie rise to its intentions—quite well, very intelligently, yes. I say see it, and you'll find many things to love.

A Good Try but not Totally Successful Attempt at Antiquation Dealing with Generations Past with Their Social, Personal, and Now Outdated Traditions.Barbara Stanwyck Showing Her Range as an Actress is all Pent Up Emotion and Struggling to Juggle Personal Gratification among Her Widowed Status that is Accompanied by Two Children, a Domineering Mentally Disturbed Mother, and a Reputation as a Pillar of the La-Dee-Da Upper Middle Class Suburbs.There is an Attempt at Social Consciousness Raising from Warner Bros. and some Ground Shaking but not Fully Breaking from Established Taboos. It is a Gallant Effort with a Soft Focus and a Charming Underpinning Max Steiner Score. Nothing is Satisfyingly Settled, Except by Hollywood Happy Ending Standards.The Film belongs to Stanwyck and the Message is Pulled Back Somewhat for Easy Consumption. George Brent as the Love Interest is Hardly Noticeable but Not Bad. The Rest of the Supporting Cast is Memorable and Deliver Fine Professional Performances.Overall it is Slightly Disappointing with a Quick Wrap Up and the Ending is Weak when it should have Peaked with Power and Realistically Concluded a Strong Story that Collapsed Somewhat, Mostly due to the Lack of Chemistry in Stanwyck's Relationship with Brent.

Let's here it for Barbara Stanwyck! The former Stella Dallas gets her grove back as Jessica Drummond in this war era women's picture about a lovely widow who wakes up to discover that she still has it. Having been dominated by her old school mama (Lucille Watson) and pampered by her late husband, she has to wake up and smell the martinis, which she admits, like anchovies, are an acquired taste. All of a sudden after a liberating skiing trip with pal Eve Arden and her husband (John Ridgely), she meets Army officer George Brent on the slopes. Bashful with eyes avoiding the bedroom, Stanwyck slowly wakes up, after spending the holidays with Brent and friends until pesky Watson interrupts. Stanwyck must discover herself in spite of the regulation of her café society past and stand up for what she really wants while keeping her self-respect, if not her old reputation.Stanwyck was at the height of her leading lady status when she made this in 1944 (held back for two years, although it was shown to men in the military) and the highest paid woman in America. This is also one of her most subtle performances, sweet yet honest about herself, devoted to her two sons, and tired of all the B.S. of society. Brent, a frequent Stanwyck leading man, goes well with her like butter does with bread, and is, as always, likable even if pain in the butt mother Watson thinks he's of the devil. The highlight of the film are the scenes between Stanwyck and Arden (their only film together!) which really shows what a real female friendship should be about. A bedroom scene with Arden and Ridgely (no double beds for this one) somehow slipped past the censors and features some amusing pillow talk. It's not just the bitter old ladies like Watson and her uppity friend Cecil Cunningham who gossip, but Stanwyck's supposed friends as well, which results in a scene with the strong Stanwyck we all have come to expect to finally explode. The conclusion between Stanwyck and her sons is appropriate for the time of war, if not satisfactorily in the romantic sense, it still holds promise and hope, and considering America was still at war when this was made, that is conclusion enough.

Widowed socialite in her early 30s, expected by her two boys, her mother, and her friends to grieve her husband's death for a lengthy period of time, instead meets and falls in love with a randy, masculine soldier--a man who clearly informs her he's not the marrying kind. Although she isn't quite the motherly type, Barbara Stanwyck gives yet another of her sterling performances in the lead. Whether standing up to the gossipy biddies in her town or trying to explain her definition of love to her sons, Stanwyck never hits a false note. Warner Bros. apparently had little faith in the film's appeal, keeping it on the shelf for two years, and yet it's a solid example of the 'woman's picture', a classy nosegay with one of those beautiful Hollywood finales at the train station. **1/2 from ****