So much average

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

I do give this film some points for being a bit different. It's an interesting premise: a man and a wife -- mousy characters both before WWII -- end up serving their country during the way and come out very different people. They both look back on their own lives and see how drab they were, and both decide they want to move forward with their more sophisticated post-war lives. And so they plan to divorce, only to finally realize that they have both changed so drastically that they are still made for each other...just in different ways than before the war.Unfortunately, this film dates to the 1940s when British films were a poor second to American films in terms of technical quality, and so this whole film just seems plain drab. The best example, although some may say a minor point, the dirigibles floating over London during the war are so faked-painted looking that it's laughable.Robert Donat was quite a good actor, and Deborah Kerr became one of the greats of Hollywood. They both evolve nicely as this film progresses. But, then there's best friend Glynis Johns, whose popularity I never understood.I also think that too much time is spent on the war portion of the film. It was needed to show why each of them evolved so much, but they spent so much time on this that they short-changed the portion of the film where they meet and discover they want change, not realizing at first that they have changed. And that latter part is what's really important in the film.Ah well. It coulda been very good, but turns out being only passably interesting. You may wanna exercise the fast-forward button on your remote.

Boring as an evening with "Family Guy's" Buzz Killington, the predictable marriage of Robert Donat and Deborah Kerr has gotten so staid that they seem too uninterested in the other party to hate them. They do what they need to do. She gets up, prepares his breakfast, he gets ready to go to work, and they are barely able to pucker up to kiss each other goodbye. But this is the beginning of World War II, and Donat must go off to combat. Kerr too gets involved, and as a result, they don't see each other for four years. A lot can happen in four years, and in the case of Kerr, she spruces up her hair, puts on some makeup, and begins to hang out with the gregarious Glynis Johns. He shaves off that horrid mustache, takes off a few pounds thanks to some military exercise, and learns to flirt. Now he is coming home and each of them decides it is time to move on. They meet in the dark, discuss their wish for a divorce, and walk into a restaurant where with the lights on, they see each other really for the first time.I believe this appears to be a rather realistic storyline because in World War II, many women found themselves making a living, becoming independent, and when the men returned, they were shocked by what they found. The men too went through changes as war, even as horrific as previous ones had been, was entering a modern era, and the enemy was more ruthless and determined than ever. The problem isn't one easily to blame on a mediocre film. Because the original views of this couple is meant to be boring, the actors give boring performances. That is part of what they were called to do. Then, war happens, the two change, and presto, chango, Kerr and Donat are as we know them from more glamorous roles. I do not find the film boring in the sense of sleep inducing, but unless you are really prepared for a dull vision of what this marriage is, you might find yourself yawning in spots. The second half of course livens up, sort of a mutual "My Fair Lady" where the guttersnipe and the chimney sweep somehow got ahold of their own fairy godmother and changed into what they had the potential of being before but had been unaware of. So the acting of the film is not really outstanding, although Johns gives a truly showy performance, but the point is really about story, not acting. Technically, the film (a British MGM production) is superb as many British films seemed farther advanced in that area than American films. (Check out the original version of "Gaslight", as well as "A Canterbury Tale", "Stairway to Heaven" and especially "Black Narcissus" to see what I mean).In retrospect, this film is probably what the sequel to "Mrs. Miniver" really should have endeavored to be, not the confusing mess that became "The Miniver Story" years after people really cared what happened to those characters.

One of the differences between the World War II experiences of the United Kingdom and America was that our war was thousands of miles away and their's was right at home. As a result our cinema produced a lot of comedies as well as drama in films about the war. In the UK the war was no subject for humor before final victory. When victory did come Alexander Korda produced and directed a delightful comedy that starred Robert Donat and Deborah Kerr about a married couple who have to adjust themselves to the fact that war has made them different people.Donat had a ship shot out from under him and survived. During his hospital convalescence temptation hits him big time in the person of nurse Ann Todd. In fact he did a bit of succumbing and who wouldn't. Ann Todd who is probably best known for American audiences as Gregory Peck's wife in The Paradine Case was one of the most strikingly beautiful women who ever was on the big screen. She was an exquisite porcelain blond goddess as you'll see here.As for Kerr she joins the WRENS the British equivalent of the WAVES to do her wartime service in a country that was united and determined to withstand a foreign invader. She's a doormat of a housewife, but with roommate and friend Glynis Johns, Kerr develops a nice self assurance. At the end of the war when they reunite Donat and Kerr are not sure they're suitable for each other. That has to all be worked out if it can.Vacation From Marriage was at a turning point in the career of Deborah Kerr. This film was produced by MGM as well as Korda and Kerr would shortly be off to Hollywood and an MGM contract. This film was preview of what American audiences would enjoy for the next twenty years.As for Donat most movie fans know he suffered his whole life from crippling asthma. Yet he still carries off his military scenes well even though he could never not project a certain frailty in any role he ever undertook. And he was never bad in any film role.Vacation From Marriage got an Oscar nomination for original screenplay. The story is good and the characters are people the writer, director, and players make you care about. See this one when it's broadcast.

This outstanding gem had me hooked from beginning to end. Although the subject matter, a relationship between husband and wife that derails after a three year separation, is common enough the strong performances of the main characters kept me interested in their lives, their growth, and ultimately the outcome of their reunion. Robert Donat has never been one of my favorite actors but here he shines as the husband who, having grown as an individual during the war is utterly bewildered by his wife when he meets her on his leave. As for Deborah Kerr, she is utterly enthralling. She is capable of convincingly portraying both a plain Jane as she does here and in "Separate Tables" and a glamorous heart-stopper as in the pub scene, when Donat sees her for the first time after their three year separation. In fact, I would say that I liked her performance here better than in "From Here to Eternity" for which she was also nominated for an Oscar. I also can't say enough about the camera work. There are numerous scenes worthy of portraits. One in particular stands out, at the very end, where Kerr is sitting at her picture window looking out over bombed out London. It's enough to take your breath away.I only have two criticisms: Kerr's character doesn't need to powder her nose repeatedly. One time is enough to make it clear that she has left her unglamorous self behind. More than once seems vain. But then again perhaps the director intended that. I also have a problem with the final scene. I think it's rushed, almost as if the director ran out of time. After the rancor and vitriol that Kerr and Donat hurled at each other it seems unlikely they would have embraced so passionately so soon. To get to that point they needed more dialog to resolve their differences. In its absence I would have preferred it if they had just held hands leaving their ultimate destiny more ambiguous and thus more realistic.