Novelist Herman Wouk's Jewish heroine, who rose from girlish camp counselor to college graduate to aspiring NYC actress, provides a meaty role for Natalie Wood, whose usual mannerisms (the breathy voice, the twitching mouth) are nicely modulated by director Irving Rapper. Gene Kelly is terrific as the womanizing theater director whom Marjorie becomes hopelessly stuck on, and the Oscar-nominated song "A Very Precious Love" by Sammy Fain and Paul Francis Webster lends pretty uplift to their romantic scenes. Visually, the film has an uneven appearance; though photographed by the estimable Harry Stradling, the clumsy mix of rear-projection, studio sets, and on-location shooting is a bit of an eyesore. In the supporting roles, Marty (Martin) Milner is excellent as an aspiring playwright and Claire Trevor has some strong early scenes as Marjorie's insufferable mother, but Ed Wynn's bit as an uncle is gratuitous, used weakly for both comic relief and pathos. Martin Balsam's role as a doctor is curiously tossed away (perhaps landing on the cutting-room floor), yet Natalie Wood is the major surprise; although one gets the impression her costume changes and hairstyles were first priority here, Wood excels in a handful of dramatic scenes, creating convincing chemistry with Kelly even if (emotionally) the narrative is all over the place. **1/2 from ****