Although this movie has flaws (and there are some), it is worth watching on several levels. First, how often do you see a movie that delves into the book publishing and broadway production worlds at the same time during the 1960's in a very captivating manner. There is no doubt that this is a very intriguing story. Second, it beautifully captures New York City and its rich and powerful society world that existed in the early 1960's. Third, the costumes and sets are very sophisticated and sixties cool, particularly the women's fashions, make-up, and hairstyles as worn by the extremely attractive Suzanne Pleshette and Genevieve Page. Fourth, the acting by Pleshette and Page is top notch. This is one of the best performances of Pleshette's career, which leads to one of the film's biggest flaws. James Franciscus was always a very likable actor, but, here, as the lead character, Youngblood Hawke, a country boy turned into a successful author, his performance is very two-dimensional. There is something missing. You really don't develop any type of feeling for what his character is going through. So, it's Pleshette and Page as Youngblood's book editor (Pleshette) and married paramour (Page) who carry the film, with wonderful performances that keep the viewer very interested in the plot of the story. The other flaw is the script. Based on a then best-selling novel by Herman Wouk, Delmer Daves not only directed this movie, he also wrote the script. At times, the dialogue is cliched and hackneyed while, at others, it is smart and snappy. So, it is very inconsistent. As a matter of fact, a subplot involving the death of Page's pre-teen son is revealed is such a melodramatic and unbelievable manner, that it is almost silly instead of devastating as was probably intended. Pleshette was known to be an intelligent and very capable actress. She had a reputation for always being able to rise above the material. One wonders if, during filming, she told Daves, "why don't I say it this way instead," because her lines are always sincere, realistic, natural, and, at times, witty. Finally, the supporting cast is full of familiar faces from 1960's and 1970's movies and television. The only problem is that so many of them tend to overract and are hammy in order to compensate for some of the overwrought dialogue they have to deliver. Unscathed and very good in their roles, however, are Mildred Dunnock as Youngblood's mother, Mark Miller as a rival publisher, and the great Oscar winner Mary Astor as Broadway star Irene. Astor won her Oscar supporting Bette Davis in "The Great Lie" and should have won on Oscar for her brilliant femme fatale performance in Humphrey Bogart's "The Maltese Falcon". She returned to acting as a favor to friend Davis in "Hush, Hush Sweet Charlotte," but this is her final acting job. "Hawke" was released to theaters before "Charlotte" so "Charlotte" is often erroneously referred to as Astor's last movie. Ironically, in both movies, she has a scene where she says she is tired and must depart. Depart she did, to an actor's retirement home in Woodland Hills, CA, where she lived out the rest of her life content and happy. So, this movie also serves as a nice record of a film great's last performance, delivered with style and grace.
So, the bottom line is, this is a movie that is truly worthwhile due to the captivating storyline, the scenery, and the terrific acting of Pleshette and Page, two female performers who steal the show from the lead male character. Who wins in the acting department between the two ? Pleshette, by the eyes and a smile. She rivals Elizabeth Taylor and Natalie Wood for the most attractive and expressive eyes ever recorded on film in the 1960's. She knew how to use them to maximum effect, as well as her warm and natural smile.
So, the bottom line is, this is a movie that is truly worthwhile due to the captivating storyline, the scenery, and the terrific acting of Pleshette and Page, two female performers who steal the show from the lead male character. Who wins in the acting department between the two ? Pleshette, by the eyes and a smile. She rivals Elizabeth Taylor and Natalie Wood for the most attractive and expressive eyes ever recorded on film in the 1960's. She knew how to use them to maximum effect, as well as her warm and natural smile.