It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

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.

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

I can't imagine the studio believed this dour exercise about a man's unrelieved grief over the loss of his family would make money. Judging from the post-war release date, this was likely part of MGM's effort to refashion a more daring image from its pre-war Andy Hardy wholesomeness.A key problem, as I see it, is that the haughty Prof. Ainley (Milland) is not much different emotionally before the tragedy than after. Thus it's rather hard to work up much sympathy for his loss, since his grief can only be guessed at. Now this absence can be rationalized as refusing to take an easier way out. Making him cold and unsympathetic both before and after means having to find sympathy for even a hard case. Still, it does detract from identifying with him for the great bulk of the movie. It also makes the awkward Hollywood ending that much more implausible.In the central role, Milland does a good job at showing little emotion and making himself haughty. I assume we're supposed to identify instead with the likable Prof. Lawry (Hodiak) who remains a generous friend throughout, even if he does suspect Ainsley's designs on his girl. But pity poor Jean Hagen's affection-starved "Girl next door" who's awkwardly dropped in one moment only to be spurned the next. Good thing that fine little actress, the non- glamorous, Nancy Davis Reagan is on hand to lend genuine realism.Except for the predictable Hollywood ending, the movie may be an earnest effort at dealing with a common human problem. But, in my view, it's simply too flawed to really register. Maybe that's why it's become so obscure.

When I first saw this with my wife, she said that Dore Shary liked to produce films to enlighten. This one should be released immediately on commercial video. A college professor (Ray Milland) loses his wife (Rosemary DeCamp) and son in a fire.He gradually starts to come apart at the seams. His actions: insomnia, drinking, mood swings, are realistically shown. Along the way, we see Nancy Davis' character, and learn that she went through the same thing. This movie contains so much, that one must watch it many times to absorb it all. How Miss Davis' character moves from attempted suicide to happiness is a story in itself.Her fiancée, as he described himself "A thick-headed Swede" is handled perfectly. Just in time, the professor is saved from committing suicide. He then moves in with his friends. The movie ends with him telling his students to "go with God". There is no happy ending. The worst may be over, though there will be many rough times ahead. At least now our protagonist knows what he is facing.WHAT A MOVIE.

Material which all-too-readily lends itself to melodramatic and/or hackneyed treatment is handled in a deliberate and truly intelligent manner in this surprising sleeper of a film.The acting of the leads is beyond reproach but to my mind it is the script which wins you over. There are a couple of typical Hollywood clichés (young, wide-eyed midwesterners and earnest, virtuous eastern-European immigrants) but for the most part, the writing is unaffected, original and convincing.Several subplots weave neatly into the story and are just as convincing themselves. I had never heard of this film before (as opposed to the legendary "Lost Weekend") but I won't forget it soon. Highly recommended

Perhaps it's the Berkeley locale that appeals to me, but I was riveted by this intelligently written and well acted look at alcoholism. Sure it's treading on similar ground to The Lost Weekend, but this is a much more intimate picture. Milland is outstanding as always, and even Nancy Kelly (Reagan) does well.