I watched 1957 Interlude with June Allyson, Rossano Brazzi, Keith Andes, Marianne Cook and Jane Wyatt in a small role; June's character is an American in Munich and meets and falls in love with orchestra conductor Rossano, while another man, a friend from home who is a doctor doing research in Munich, also tries to woo her at the same time. The trouble is Rossano is married and his wife (Cook) is clinically insane and tries to commit suicide at one point (with June trying to save her). Someone here compared it to Jane Eyre, but it's only a VERY light comparison; the spirituality and emotional power behind Jane Eyre was totally missing in this soap opera. June's character doesn't even end up with Rossano at the end, she does the noble thing and goes back to America with Keith's character, leaving Rossano to take care of his mentally fragile wife. Eh. Some classical music was nice and it was fun seeing Munich and Salzburg in 1957 but other than that this was kind of a wasted film. (I had to laugh when they showed the outside of Mozart's birthplace in Salzburg, which I recognized immediately, the camera shows June and Rossano walking in and the camera cuts and suddenly they are in this HUGE room with a HUGE modern piano in it and I knew immediately that indoor scene was shot someplace else besides Mozart's birthplace! I've been there and walked around and all the rooms are tiny and the hallways and staircase are very narrow. They might have been able to fool some people, but not me). Also, what was it with June Allyson constantly wearing white in this movie? Everything she wore was totally white except for one scene where she wears a robe. I kept laughing. Maybe they wanted her to look virginal while kissing two different men? LOL
13 Reviews
A ponderous rather cliched plot with some inane dialogue
AlsExGal11 September 2018
Warning: Spoilers
Douglas Sirk remake of John M. Stahl's When Tomorrow Comes, which I haven't seen. Innocent young American girl goes to Munich, falls in love with famous conductor who turns out to be married. Will she stay with him or go home with the nice American doctor from her hometown? In 1950s Hollywood films, apparently almost every woman wants to go to Europe and have an affair with Rossano Brazzi.
This is not the movie to convert people who don't like June Allyson (High Barbaree is the one recommended for that). The script seems to suggest that her character is a sweet young thing, which June in 1957 was not. Her hairstyle is, as usual, not at all becoming. She doesn't have much chemistry with Brazzi, either. The script is ponderously written, especially for poor Keith Andes as the doctor, who gets lines like "See, I don't always have my nose in the Journal of Pathology. I can speak French."
Marianne Koch (billed as Marianne Cook) as the conductor's wife and Francoise Rosay as her aunt take the acting honors here. Douglas Sirk handles the Cinemascope ratio well, as you might expect, and the camera setups are usually chosen well. The cinematography of William Daniels is absolutely gorgeous, not just the scenes in Munich, Salzburg, and the surrounding countryside, but each interior shot is a marvel of balanced and contrasting colors. The set design is equally superb. If you respond strongly to these visual elements, Interlude is very much worth your while. Just don't expect a film as satisfying as Summertime.
This is not the movie to convert people who don't like June Allyson (High Barbaree is the one recommended for that). The script seems to suggest that her character is a sweet young thing, which June in 1957 was not. Her hairstyle is, as usual, not at all becoming. She doesn't have much chemistry with Brazzi, either. The script is ponderously written, especially for poor Keith Andes as the doctor, who gets lines like "See, I don't always have my nose in the Journal of Pathology. I can speak French."
Marianne Koch (billed as Marianne Cook) as the conductor's wife and Francoise Rosay as her aunt take the acting honors here. Douglas Sirk handles the Cinemascope ratio well, as you might expect, and the camera setups are usually chosen well. The cinematography of William Daniels is absolutely gorgeous, not just the scenes in Munich, Salzburg, and the surrounding countryside, but each interior shot is a marvel of balanced and contrasting colors. The set design is equally superb. If you respond strongly to these visual elements, Interlude is very much worth your while. Just don't expect a film as satisfying as Summertime.
The sound of music
jotix10019 August 2012
Warning: Spoilers
Our only reason for watching this film was because of Douglas Sirk. The director specialized in this type of melodrama, creating extraordinary films. This offering is based on a James Cain story that appears to have been recycled to fit June Allyson's contract, which was about to expire. The fact Mr. Sirk was not too fond of this particular film, speaks volumes about why it did not jelled after all. The project had the right elements, but something did not go right in spite of having the great William Daniels as the cinematographer. In fact, this film reminds this viewer of a much better one, "Summertime" which dealt more or less with the same theme, and both had the presence of Rossano Brazzi.
The story has been told in different variations before. The somewhat naive American young woman goes to the postwar Europe finds love and romance, but mighty forces come between herself and the hunky conductor who was having his own problems with a sick wife. We all realize ;how the story is going to evolve because the best qualities of the unselfish Helen Banning will do the only decent thing she could do to make things all right for Tonio Fischer.
June Allyson was approaching forty when this film went into production. She always cast such a bland presence in her movies that her character is not helped by her approach. Rossano Brazzi, on the other hand, does a wonderful job as Tonio, although it is obvious there was no chemistry between him and Ms. Allyson. For all practical purposes, the film plays like a travelogue showing parts of Germany and Austria in beautiful colors thanks to Mr. Daniels.
The story has been told in different variations before. The somewhat naive American young woman goes to the postwar Europe finds love and romance, but mighty forces come between herself and the hunky conductor who was having his own problems with a sick wife. We all realize ;how the story is going to evolve because the best qualities of the unselfish Helen Banning will do the only decent thing she could do to make things all right for Tonio Fischer.
June Allyson was approaching forty when this film went into production. She always cast such a bland presence in her movies that her character is not helped by her approach. Rossano Brazzi, on the other hand, does a wonderful job as Tonio, although it is obvious there was no chemistry between him and Ms. Allyson. For all practical purposes, the film plays like a travelogue showing parts of Germany and Austria in beautiful colors thanks to Mr. Daniels.
Tomorrow will never come,Heaven won't allow
dbdumonteil12 July 2009
A propos of "when tomorrow comes" ,of which "interlude" is the remake: This is not one of Stahl's best works.The movie lacks a center of gravity. Melodrama interferes with social topics(unions,strikes,meetings)and even a deluge,complete with a night in a temple.Besides,the Madeleine character appears too late and is hardly credible.She suffers from mental illness since she lost her child.And the unfortunate heroine tells her so:"you win because you're helpless". Charles Boyer plays the usual Latin lover,and Irene Dunne,the impossible love ,as she did in Fannie Hurst's famous tear-jerker. The ending is ambiguous:in his 1957 remake,the by now usual Sirk remake has a more definitive conclusion. All in all,watchable,because of the cast ,but not a great Stahl.
A propos of "interlude" : Generally Sirk used to work wonders with his remakes of John M Stahl: "magnificent obsession" and 'imitation of life" (in spite of some reservations for the latter) were ,in several respects ,superior to the thirties works ;"interlude" ,on the other hand ,is less interesting than the original,which was not a masterpiece either.Gone are the social concern,the hurricane and the flood -replaced by a little storm- We're left with an old maid (June Allyson whose performance is mediocre and no romantic at all )two suitors (an Italian buck and a handsome American physician ),plus a depressive woman ,which makes some of the final scenes look like an updated Jane Eyre .It's extraordinary that this bland soap opera should precede ,in Sirk 's filmography ,his absolute masterpiece " a time to love and a time to die" which cannot be praised too highly: one finds it hard to believe that the two movies were made by the same director.
French users will notice the presence of Françoise Rosay as the housekeeper.
A propos of "interlude" : Generally Sirk used to work wonders with his remakes of John M Stahl: "magnificent obsession" and 'imitation of life" (in spite of some reservations for the latter) were ,in several respects ,superior to the thirties works ;"interlude" ,on the other hand ,is less interesting than the original,which was not a masterpiece either.Gone are the social concern,the hurricane and the flood -replaced by a little storm- We're left with an old maid (June Allyson whose performance is mediocre and no romantic at all )two suitors (an Italian buck and a handsome American physician ),plus a depressive woman ,which makes some of the final scenes look like an updated Jane Eyre .It's extraordinary that this bland soap opera should precede ,in Sirk 's filmography ,his absolute masterpiece " a time to love and a time to die" which cannot be praised too highly: one finds it hard to believe that the two movies were made by the same director.
French users will notice the presence of Françoise Rosay as the housekeeper.
INTERLUDE (Douglas Sirk, 1957) **1/2
Bunuel197611 September 2008
I have to say that I wasn’t all that looking forward to this romantic melodrama – in view of the fact that it bore the triple threat of classical music, travelogue aspects and a syrupy leading lady in June Allyson! However, director Sirk’s typically glossy handling smooths over much that is icky within this type of film; furthermore, male lead Rossano Brazzi is well-cast as the brooding conductor with a mad wife (Marianne Koch, from A FISTFUL OF DOLLARS [1964]!) – looked after by sympathetic aristocratic relative Francoise Rosay – who tries to console himself with ingénue Allyson (she’s unaware of this set-up, while being herself pursued by doctor/childhood friend Keith Andes). Actually, it’s this element – redolent of “Jane Eyre” – which gives the film its substance; interestingly, while Koch’s character only really emerges during the second half, she’s given a couple of powerful/moving confrontation scenes with Allyson (who even saves her from suicide at one point).
INTERLUDE (a remake, as were a number of Sirk’s famed Ross Hunter collaborations, of the Oscar-winning WHEN TOMORROW COMES [1939] – based on a story by, of all people, thriller expert James M. Cain!) doesn’t wholly escape cliché, however: while initially gruff towards the heroine, Brazzi then tells Allyson he had noticed her immediately and, to make amends, takes the girl sightseeing (the film naturally makes the most of its attractive European locations) and, later, after a romantic picnic is disrupted by a thunderstorm, the couple get to spend the night in a cottage of his conveniently situated nearby. Other resistible ingredients are Jane Wyatt’s mercifully brief appearance as Allyson’s eccentric superior at work (a library within the American Embassy in Monaco), the way most patrons are seen gushing at Brazzi’s talent (he’s merely a conductor, for cryin’ out loud, not a composer or a musical performer!) and, of course, the obligatory title song. By the way, this old-fashioned plot would turn up on the screen yet again – in Britain but under the same title – in 1968 and that version has the benefit of an intriguing cast (Oskar Werner, Donald Sutherland, John Cleese and Derek Jacobi)!
INTERLUDE (a remake, as were a number of Sirk’s famed Ross Hunter collaborations, of the Oscar-winning WHEN TOMORROW COMES [1939] – based on a story by, of all people, thriller expert James M. Cain!) doesn’t wholly escape cliché, however: while initially gruff towards the heroine, Brazzi then tells Allyson he had noticed her immediately and, to make amends, takes the girl sightseeing (the film naturally makes the most of its attractive European locations) and, later, after a romantic picnic is disrupted by a thunderstorm, the couple get to spend the night in a cottage of his conveniently situated nearby. Other resistible ingredients are Jane Wyatt’s mercifully brief appearance as Allyson’s eccentric superior at work (a library within the American Embassy in Monaco), the way most patrons are seen gushing at Brazzi’s talent (he’s merely a conductor, for cryin’ out loud, not a composer or a musical performer!) and, of course, the obligatory title song. By the way, this old-fashioned plot would turn up on the screen yet again – in Britain but under the same title – in 1968 and that version has the benefit of an intriguing cast (Oskar Werner, Donald Sutherland, John Cleese and Derek Jacobi)!
Not The Typical June Allyson Story
ldeangelis-7570811 March 2023
June varies from her girl next door image, as she plays Helen Banning, a young woman from Philadelphia who travels to Munich not for romance, but for her career and then gets romantically involved with two men, one of them married!
You don't know who to sympathize with more, as all the members of this quadrangle bring out your compassion. There's Helen, whose head is telling her she'd be better off with Dr. Morley Dwyer (Keith Andes), also from Philly and also in Munich form his career, while her heart is pulling her toward Tonio Fischer (Rossano Brazzi), a famous composer whose wife is mentally ill. There's Tonio, who lives with memories of his once happy marriage, yet wants to grab some present happiness for himself. You also feel for Morley, who's fallen for Helen and tries to make her see reason, doesn't want to give up yet may have to admit defeat. And there's Reni Fischer (Marianne Koch), aware of her illness in her lucid moments and suffering because of it, still very much in love with the husband she doesn't want to lose.
This is a no-win situation if ever there was one, as there's no way someone isn't going to get hurt.
I won't give anything away, except to say that, had this movie been made in Pre-Code days, it might have ended differently.
You don't know who to sympathize with more, as all the members of this quadrangle bring out your compassion. There's Helen, whose head is telling her she'd be better off with Dr. Morley Dwyer (Keith Andes), also from Philly and also in Munich form his career, while her heart is pulling her toward Tonio Fischer (Rossano Brazzi), a famous composer whose wife is mentally ill. There's Tonio, who lives with memories of his once happy marriage, yet wants to grab some present happiness for himself. You also feel for Morley, who's fallen for Helen and tries to make her see reason, doesn't want to give up yet may have to admit defeat. And there's Reni Fischer (Marianne Koch), aware of her illness in her lucid moments and suffering because of it, still very much in love with the husband she doesn't want to lose.
This is a no-win situation if ever there was one, as there's no way someone isn't going to get hurt.
I won't give anything away, except to say that, had this movie been made in Pre-Code days, it might have ended differently.
Sirk doesn't strike gold at U-I this time.
fs33 January 2001
Throughout the 50's, Universal-International was home to most of director Douglas Sirk's striking views of life, love and heartache among the American classes. His work with Rock Hudson, Dorothy Malone, Barbara Stanwyck and others in superior films like Written on The Wind, The Tarnished Angels and There's Always Tomorrow is not matched here.
June Allyson on occasion was able to break free from her standard persona with the fortuitous help of the right co-star, director, script turn or moment in time. Here the noble suffering and Rossano Brazzi do not provide the right formula. The stars try (probably too hard) and the trappings are predictably pretty, but the whole affair is rather unfortunately empty.
June Allyson on occasion was able to break free from her standard persona with the fortuitous help of the right co-star, director, script turn or moment in time. Here the noble suffering and Rossano Brazzi do not provide the right formula. The stars try (probably too hard) and the trappings are predictably pretty, but the whole affair is rather unfortunately empty.
Why I like this version
Larkrise2 April 2010
Warning: Spoilers
I,m possibly the only person who has seen this film and really enjoyed it from the fabulous scenery of Salzburg and Munich to the romance of the story. As one reviewer commented it is an, and i never noticed it before how blind i am its so similar to Jane Eyre only with a slight difference she does,nt land up with Rochester at the end. June Allyson has always been one of my favourite actresses and she is reunited with her co star from the 1949 classic Little Women. I am familiar with othier notable films from director Douglas Sirk Written in the Wind and such and dream to put this one down. Im so happy i received a copy of this on DVD to cherish forever. Just One reviewers opinion of a favourite movie.
Failed Romantic Drama
Michael27-19 July 2005
As soon as Douglas Sirk's "Interlude" opened to a theme sung by the MacGuire Sisters, I knew that we were not in typical Sirk territory anymore. Usually, the pairing of director Sirk and producer Ross Hunter brought forth brooding melodrama and biting social commentary. However, somewhere here things go sour. June Allyson fails in her efforts to bring epic emotion to the screen and the entire film lacks any real sense of heart and soul. The romantic leading man, Rossano Brazzi, thankfully brings some continental sophistication and feeling to the proceedings. But nothing really saves this movie from becoming a flaccid piece of 1950s celluloid.
Allyson stars as an American visiting Munich, Germany. She happens to meet a bad-tempered conductor(Brazzi), with an even more poorly-tempered wife. His wife suffers from mental illness which drives Brazzi away from her and into Allyson's arms. Allyson, meanwhile, is also being courted by an American doctor without all of the extra baggage. Allyson is torn between the two men and must make a decision before she heads back home to the U.S.
June Allyson was a poor choice as a leading lady for Sirk. Any number of his other female stars would have been great for the role. But, Allyson? I just don't get it. Besides that, she and Brazzi have absolutely no chemistry. There is not one moment in the film where I wanted to see them end up together. The highlights of this film are the lovely scenes shot against the backdrop of a post-war Europe. Also of note for Sirk fans is the heavy use of reflective surfaces and shadows - common imagery in Sirk movies. In the end, however, Sirk, Hunter and the music of Frank Skinner fail to produce anything of substance. Forgettable and slightly disappointing. The 1968 British version of "Interlude" is far superior and highly recommended.
Allyson stars as an American visiting Munich, Germany. She happens to meet a bad-tempered conductor(Brazzi), with an even more poorly-tempered wife. His wife suffers from mental illness which drives Brazzi away from her and into Allyson's arms. Allyson, meanwhile, is also being courted by an American doctor without all of the extra baggage. Allyson is torn between the two men and must make a decision before she heads back home to the U.S.
June Allyson was a poor choice as a leading lady for Sirk. Any number of his other female stars would have been great for the role. But, Allyson? I just don't get it. Besides that, she and Brazzi have absolutely no chemistry. There is not one moment in the film where I wanted to see them end up together. The highlights of this film are the lovely scenes shot against the backdrop of a post-war Europe. Also of note for Sirk fans is the heavy use of reflective surfaces and shadows - common imagery in Sirk movies. In the end, however, Sirk, Hunter and the music of Frank Skinner fail to produce anything of substance. Forgettable and slightly disappointing. The 1968 British version of "Interlude" is far superior and highly recommended.
This is, despite what IMDB says, "Jane Eyre" set in the 20th century.
planktonrules22 August 2020
Warning: Spoilers
According to imdb, "Interlude" is a remake of "When Tomorrow Comes". While this is right, BOTH films are remakes, or perhaps reworkings of "Jane Eyre". And, like the book by Charlotte Bronte, "Interlude" includes BOTH relationships that Jane experiences. Most versions of "Jane Eyre" do not include the relationship that Jane had with the missionary...focusing only on Mr. Rochester. I think this is a good thing, as it gives the woman in the story a choice...of love with a married man or contentment with a stable and predictable man instead.
When the film begins, Helen (June Allyson) arrives in Munich for a job. This plain looking American is looking to experience more out of life and Europe is an adventure for her. Soon she meets two men. One is a doctor who seems smitten with her. Another is a world famous conductor who also is smitten with her...though like Rochester, he has a mentally ill wife at home. Helen only learns about this wife later...after she's fallen for him. And now she has a choice....to return to America with the nice doctor, to live an illicit life with the conductor, or, perhaps, choose neither of them.
During the 1950s, director Douglas Sirk and Universal Studios made some amazingly beautiful and sumptuous love stories. In this sense, "Interlude" is yet another one of these slick stories....well directed, in glorious Technicolor and with lovely music. I actually liked this better than some versions of "Jane Eyre" and it's interesting to see the story updated to more modern times...and with a few major changes. I could say more, but it's best you watch and see those differences yourself.
When the film begins, Helen (June Allyson) arrives in Munich for a job. This plain looking American is looking to experience more out of life and Europe is an adventure for her. Soon she meets two men. One is a doctor who seems smitten with her. Another is a world famous conductor who also is smitten with her...though like Rochester, he has a mentally ill wife at home. Helen only learns about this wife later...after she's fallen for him. And now she has a choice....to return to America with the nice doctor, to live an illicit life with the conductor, or, perhaps, choose neither of them.
During the 1950s, director Douglas Sirk and Universal Studios made some amazingly beautiful and sumptuous love stories. In this sense, "Interlude" is yet another one of these slick stories....well directed, in glorious Technicolor and with lovely music. I actually liked this better than some versions of "Jane Eyre" and it's interesting to see the story updated to more modern times...and with a few major changes. I could say more, but it's best you watch and see those differences yourself.
Downbeat
writers_reign25 June 2016
Warning: Spoilers
In the 1950s Douglas Sirk was the go-to director of choice for Universal when they felt in need of a schlock in the arm, given he could and did turn out schmaltz by the barrel full. His regular leads of Rock Hudson and Jane Wyman sat this one out obliging him to recruit pinch-hitters Rossano Brazzi and June Allyson who unleash a chemistry to rival that of Gale Sondergaard and Lon Chaney Jnr. Like her mentor Doris Day, June Allyson can infect you with diabetes if you take even the tiniest bite out of her and once in her orbit Brazzi needs all the insulin he can get while third leg of the triangle Keith Andes has a mountain to climb to even catch Allyson's eye once she takes a swivel at Brazzi, who, in best Rochester fashion has a loca wife in the attic allowing Allyson to do the right thing in the last reel. Don't say I didn't warn you.
Cruelty in what they call love
mellindaowen3 May 2021
A pretty Girl Takes a Job in overseas and meets the charming psychiatrist Morley Dwyer, who isn't from germany either.
Sehr wears a white dress, almost like a bride. So He has the Impression, she ist looking for a 'husband'. And she meets one: Tonio Fisher, a conductor, is soon quite involved, when she met him - she went to see the ego-oriented fellow in his/their place - an old fashioned but impressive landhouse. There she meets his family too. As it turns out - after a stormy night - he is alredy engaged. But the lady in his side seems not happy. In fact, she s about to fight for her future too. Perhaps it' s difficult to just let go, even of there is some other interests, a woman ist left Into (or should I say: left alone?) But it's perhaps the Background, he needs for being the artist...
Sehr wears a white dress, almost like a bride. So He has the Impression, she ist looking for a 'husband'. And she meets one: Tonio Fisher, a conductor, is soon quite involved, when she met him - she went to see the ego-oriented fellow in his/their place - an old fashioned but impressive landhouse. There she meets his family too. As it turns out - after a stormy night - he is alredy engaged. But the lady in his side seems not happy. In fact, she s about to fight for her future too. Perhaps it' s difficult to just let go, even of there is some other interests, a woman ist left Into (or should I say: left alone?) But it's perhaps the Background, he needs for being the artist...
The Rochester syndrome
clanciai22 October 2021
Warning: Spoilers
A world conductor has everything, a glorious career, all the riches in the world, well married to a beautiful lady of wealth, her home is a splendid castle, and then she goes mad. What does the conductor do? Of course he tries to do everything for her, but their love is gone, and he as a man necessarily also needs love. So he finds June Allyson, who is happy with him as long as she doesn't know about the mad wife.
It's a typical Douglas Sirk melodrama but very beautifully made enshrined in marvelous music all the way, Schumann, Mozart, Brahms. Wagner and Frank Skinner for the film music. It couldn't be lovelier. The only flaw is that Rossano Brazzi isn't quite convincing as a conductor - any musician must observe that immediately. But all the rest is well done and exquisitely beautiful, while the most important second part is played by Francoise Rosay, a veteran queen of the cinema, aunt of the mad wife, who sees everything clearly, while June Allyson's American boyfriend, Keith Andes, prefers to stay out of any psychology. June Allyson is always good and an ornament to every film she is in, and the film is worth watching above all for her sake.
It's a typical Douglas Sirk melodrama but very beautifully made enshrined in marvelous music all the way, Schumann, Mozart, Brahms. Wagner and Frank Skinner for the film music. It couldn't be lovelier. The only flaw is that Rossano Brazzi isn't quite convincing as a conductor - any musician must observe that immediately. But all the rest is well done and exquisitely beautiful, while the most important second part is played by Francoise Rosay, a veteran queen of the cinema, aunt of the mad wife, who sees everything clearly, while June Allyson's American boyfriend, Keith Andes, prefers to stay out of any psychology. June Allyson is always good and an ornament to every film she is in, and the film is worth watching above all for her sake.
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