To me, this movie is perfection.

While it doesn't offer any answers, it both thrills and makes you think.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The title of the review is describing what the W.R.E.N. Service is. However it is incorrectly spelt. WRNS is the correct abbreviation as it stands for Woman's Royal Navel Service and phonetically pronounced as Wrens.

Producer: Herbert Wilcox. An Associated British Film. Released but not copyrighted in the U.S.A. by M-G-M, January 1949. New York opening at the Elysee: 4 August 1948. (The New York critics were savage). U.K. release through Associated British-Pathé: September 1946. Australian release through British Empire Films: 12 June 1947. 9,528 feet. 106 minutes. The full-length version was released only in Australia. Cut to 102 minutes in the U.K., 88 minutes in the U.S.A. (Voted Best Film of 1946 in the Daily Mail annual poll). Alternative U.S. title: THEY MET AT MIDNIGHT. SYNOPSIS: Separated, believed dead, from her husband, the faithful wife returns home after a few years to find her beloved not only remarried but also a father. NOTES: The film easily overcame extremely negative reviews ("Slow, heavy-footed and overlong," even from kind-hearted F. Maurice Speed, noted for his tendency to bend over backwards to say something nice about even the most boring and inconsequential releases of the year), to bounce in at number three at the British box-office for 1946. Number three, mind you! Unbelievable!COMMENT: I am reviewing the full-length version! A British remake of Garson Kanin's "My Favorite Wife" (1940) only this time treated as a drama rather than a comedy and with much more footage on the preliminaries (so much so that the film ends thirty minutes after "My Favorite Wife" begins) and the desert island episode. As a result, the film seems more akin to a dramatic re-make of J.M. Barrie's "Admirable Crichton" or an equally somber dramatic precursor to Noel Langley's "Our Girl Friday".True, Herbert Wilcox's plodding direction is more suited to drama than comedy, but the pace is so slow here that it will bore all but Miss Neagle's most fervent fans to tears. In Wilcox's hands, the plot (when finally we come to it) seems impossibly contrived and silly. Though Miss Neagle battles on gamely, it is as difficult to believe in her characterization as in the impossible Michael Wilding or the even more incredible Michael Laurence (he gives it a good try but a part like that would nip even an Olivier's career in the bud).The support characters have nothing to recommend them either, though with true British pluck, people like A.E. Matthews give them a whirl.The lighting photography is also not all that might be desired — sometimes it is flattering to the players, sometimes it is not. Sometimes it lights the sets effectively, at other times the light falls in such a way as to pinpoint phony backdrops.To make matters worse the film ends with a "message", though due to its funereal pace it is unlikely many viewers will last the distance.Production values are not over-extensive and though some well-known songs are used in the score, they are presented in a most perfunctory and undistinguished manner, with the exception of a long-drawn-out boogie version of Beethoven which, despite the initial promise of its choreography, soon out-stays its welcome.

I first saw this wonderful little film at 16 years of age and have never forgotten it.Michael Wilding and Anna Neagle ( in particular) carry the film with an English understated romance atypically bubbling under the surface - although Neagle's warmth is palpable. It is a curious but clever mix of war, romance, adventure and ethics.I think the stand-out and almost jolting point for me was the judiciary's comment - at the end - alluding to the fact that the child (of the second wife) would always be illegitimate.They don't make them like this anymore.

SOME PLOT SPOILER HEREIN, BUT NO GIVEAWAY OF THE ENDING. A chance meeting in war-torn Piccadilly, connects a well born Marine and an ex-hoofer Wren. They marry in haste, clearly meant for each other. War separates them, and she is missing, believed drowned, when her ship is torpedoed by the Jerries. She ends up on a desert island with some chirpy lower-classes and a creepy Canadian, who tries to move in on her. Meanwhile, back in Blighty, the marine plunges into grief (in an understated British way), but perks up, when he meets a jolly Yank gel, whom he marries. Meanwhile the Wren and her pals are rescued and she dashes back to the Marine's country seat, and...I shan't spoil the rest for you. Despite its descent from light drama into glum (and rather drawn-out) melodrama, this is a likable film, very prettily shot by Max Greene, and well directed by Ms Neagle's hubby, Herbert Wilcox. Michael Wilding is particularly good as the chap. (Apparently neither Rex Harrison nor John Mills were available for the part, so Wilding got it, and a good job too.) He has a delightful lightness of touch, with strong emotions burning quietly beneath. His lover, the slightly stodgier, scrupulously gracious Wren, Anna Neagle always reminds me of the nice girl at school, with whom one can't really find fault, but wishes had more oomph. Wilding brings out the best in her, and their scenes together really sparkle. It's a shame they spend so much of the film apart. There's an occasionally witty script from N. Phipps, a peculiar dance number, and very good work from the supporting cast, but a curious bit of casting in Michael Laurence as a distinctly creepy Canadian, who keeps up a constant, tense assault on our Anna. I wonder if the drama might have worked a bit better if he were genuinely likable, but not quite as likable as Mr Wilding. As it is, he's simply creepy, and we (the audience) don't want him to get a look-in. I originally saw this old hit, on the TV in Spain, in 1966, dubbed into Spanish. It works better in English, mainly for Michael Wilding's subtle style with a line, funny romantic or sad; and Brenda Bruce's very likable and emotionally truthful second-fiddle to Ms Neagle.