User Reviews

Love is a Many-Splendored Thing (1955)

This should have been could have been terrific, and it won five (five!) Academy awards, including for it's now more famous title song. One reason it was a hit was it was deeply romantic and epic and yet dealing with a vividly disturbing issue for Americans, the take over of China by Communist rule.

William Holden, at the height of his fame, holds his own in his restrained and slightly diffident way, and Jennifer Jones is forceful and believable and likable, if a hair too mannered for my taste and too frankly lovely for the good of the movie. This is a love story set against a new kind of wartime, leading eventually to the Korean War, and there is nothing better for a movie than love and war. Ask Tolstoy. The filming is wide screen saturated color in that first two years of this kind of spectacle, and like other films of the mid-fifties it falls victim to being pretty at times. The events are set in Hong Kong and that's part of the visual charm, but it's also a distraction for the filmmakers, drifting (just slightly at times) into a travelogue.

There, all my reservations are out of the way. If you can not worry about how "good" the movie is or what it could have been (compared to others, or just on it's own formal terms), it's a vivid, engrossing, politically loaded situation with two charming and beautiful actors. It might be a surprise that Jones plays a Chinese doctor (Eurasian, officially), Dr. Han Suyin (Jones was actually an Oklahoma girl), but this is what Hollywood was still demanding of its casts, afraid to diversify. And depending on star power to succeed. Holden plays Mark Elliott, a journalist.

As the affair begins between our leads, Dr. Han Suyin (a widow) says to Elliott, after he wonders why she'd go out with a married man, "I thought if you were happily married there could be no danger, and if you weren't it could make no difference." And it begins there, freighted with desire and worry. You know somehow that things will not go smoothly, and they don't, though the plot is oddly prosaic at times. It's partly the script, but also, oddly enough, the filming, with a very static camera (which sits and waits as the actors talk, beautiful backdrops and all). I think Jones and Holden are "creditable" in their roles, a good word because it's so awkward and awful.

One thing that happened for me, in 2011, was getting washed in nostalgia. It's a movie about falling in love as the world is spinning out of control around you. It's before cell phones and constant news--so some of the best scenes are out of touch with everything in the world except the two of them. The music swells, the sun hits the blue waters in the bay, and it seems like a huge escape. I suppose that's what it was for them, from their histories, from their obligations. Eventually the world caught up, however, and things unravel.

Another great thing about the movie, however old-fashioned the approach might seem, is the racial conflicts at work, for and against them. It is maybe the big theme of the movie, when all is said and done. This is a tear jerker of the largest magnitude. Soak it up.

Based on the 1952 autobiography "A Many-Splendoured Thing," "Love Is a Many-Splendored Thing" (1955) tells the story of Han Suyin, focusing on the romance that Han, a widowed Eurasian doctor in 1949 Hong Kong, had with a married American correspondent named Mark Elliott. "I don't want to feel anything again, ever," Han tells Mark soon after they meet, but the two soon develop the mutual irresistibles for each other, and who can blame them? Mark is played by William Holden at the near peak of his hunky-dude period (the following year's "Picnic" would be the peak) in this, the first of three films over the next seven years that would find Holden in China (1960's "The World of Suzie Wong" and 1962's "Satan Never Sleeps" being the others). And Dr. Han is here played by Jennifer Jones, who, although not a Eurasian (unlike yummy Nancy Kwan and pretty France Nuyen of those other exotic Holden films), does a credible job of passing as one. Whether dressed in cheongsam, European frock, surgical gown or (hubba-hubba!) bathing suit, Jones looks ridiculously gorgeous here. No wonder East meets West in this film so dramatically! With its two appealing lead stars, breathtaking Hong Kong scenery, beautiful CinemaScope and color, Oscar-winning costumes and that classic, Oscar-winning title song that wafts through the film like a lovely incense, "Love Is a Many-Splendored Thing" turns out to be quite the winning and romantic concoction. Han herself supposedly did not care for the picture, so I can only imagine that great liberties were taken with her source material. Still, I enjoyed it. And if the film's ending causes a tear to come to the eye, just remember Mark's words of wisdom: "Life's greatest tragedy is not to be loved."

This movie will likely be too sentimental for many viewers, especially contemporary audiences. Nevertheless I enjoyed this film thanks mostly to the down-to-earth charm of William Holden, one of my favorite stars, and the dazzling beauty of Jennifer Jones. There are some truly heartwarming scenes between the pair and the talent of these two actors rescues what in lesser hands could've been trite lines. The cinematography of Hong Kong from the period of filming is another highlight of this movie. All in all, a better than average romantic drama, 7/10.

Some movies just stands up to the changes of time. This is one such movie. Why it never gets old is because it's a quality production, with good settings and story.

I really love this movie, although the story is kind of simple, the situation is not. Jennifer Jones plays an Eurasian woman from Chung King, and William Holden a reporter from Singapore. Two people from a very different background meet in one of the most international city in the world - Hong Kong - where old Chinese culture and new capitalism meet. Now that would be confusing to anyone who's trying to sort out their relationship.

The movie combines all these elements well, and exotic Hong Kong location adds to the beauty of the story. It's interesting to see Hong Kong in 1955, comparing it to Hong Kong of today. Some places looks similar like the Victoria Peak (although it has no high rise buildings), but Aberdeen was much less crowded.

Music score is a real tear jerker.

If you like romance, this is one of the best movie you can watch.

Han Suyin's autobiographical novel "A Many-Splendored Thing" becomes glossy, unconvincingly clean and luxurious romance set in Hong Kong, 1949, wherein a widowed female doctor of Chinese-English descent falls for an American correspondent stuck in a loveless marriage. John Patrick adapted Suyin's story, apparently turning her heartfelt remembrances into swooning romantic dross complete with poor dialogue exchanges (He: "I can't believe you're a doctor." .. She: "Too bad we don't have a scalpel, I could make a small incision."). Dark-haired, pale-skinned Jennifer Jones meets handsome, smiling William Holden at a party and immediately feigns indignance, as if widowed women bury their sexuality (or feel they must appear to) once a man takes an interest in them. Henry King directs the proceedings with a gentle touch, bringing it all to a misty-eyed flourish, yet Jones' character is never an embraceable one. Constantly referring to her heritage (and the fact she's "Eurasian"), this lady is forthright in all the wrong ways (she'd be more likely to turn off Holden's reporter rather than keep him around). Jones (who got an Oscar nomination) and Holden do create a loving rapport which becomes sweeter once Jennifer loosens up. This hard-working woman curiously puts a great deal of stock into superstitions (omens, Proverbs, butterflies), which seems out of step with such a no-nonsense lady; the sequence where she travels back home to Chunking to visit relatives is also odd (it doesn't take shape, it just appears as though she's running away). Holden performs in a low, easy key and glides through rather unperturbed (nothing ruffles this guy, but there's nothing to explain his devotion either; the man is obviously touched by this woman, but that doesn't tell us much about him). Alfred Newman's Oscar-winning music (and the memorable, Oscar-winning theme song by Sammy Fain and Paul Francis Webster) are lovely, and the locations are gorgeous, though the obvious studio shots are too tidy--even the hospital where Jones works seems overly opulent. A nice-enough weeper for soap fans, though one without the substance to entice a wider audience. **1/2 from ****

In Hong Kong, "Eurasian" doctor Jennifer Jones (as Han Suyin) is unable to resist falling in love with clean-shaved newspaperman William Holden (as Mark Elliott). The movie is rather long and unconvincing; and, the much-ballyhooed star pairing lacks passion. Still, it won "Photoplay" awards for Best Picture, Actor, and Actress. The film's main strengths are its Sammy Fain/Paul Francis Webster theme song, and Leon Shamroy's beautiful Hong Kong cinematography. Decca recording stars "The Four Aces" filled the autumn of 1955 with their million-selling #1 hit version of the title song; and, coming in under three minutes, it's a superior way to experience "Love Is a Many-Splendored Thing".

****** Love Is a Many-Splendored Thing (8/18/55) Henry King ~ Jennifer Jones, William Holden, Isobel Elsom

Eurasian physician Rosalie Chou was an extremely interesting woman who wrote under the name of Han Suyin. Apparently she sold the rights to her autobiographical 'A many-splendored thing' so as to pay for her adopted daughter to receive treatment in England for pulmonary thrombosis. Unsurprisingly she distanced herself from the film.

This adaptation by John Patrick has here been given the full Twentieth Century Fox treatment by its 'A' team. Sensitive direction by Henry King, stunning cinematography by 'the cameraman's cameraman' Leon Shamroy, seamless editing by William Reynolds and a lush score by Alfred Newman.

The English correspondent with whom Suyin has an ill-fated romance has become an American, no surprise there, and is played by William Holden whilst Suyin is portrayed by Jennifer Jones. Good support from Torin Thatcher, Isobel Elsom and Murray Matheson as the resident 'colonials'.

It is supremely ironic that one of the great love stories is here played out by two actors whose relations off set were far from cordial to say the least. Their consummate professionalism has enabled them to rise above this antipathy and Miss Jones gives one of her very best performances. Mr. Holden of course has the unbeatable combination of masculinity and sensitivity. One genuinely cares what happens to their characters and they are aided immeasurably by the glorious theme music derived by Sammy Fain from Puccini's 'Un bel di......'

The film has naturally been dismissed by the flint-hearted as overly sentimental but it was made at a time when sentimentality was not a dirty word. It is designed to appeal to the emotions and does so in spades.

This film always hits me hard emotionally at the end. Though the issues of the film - interracial romance and adultery - were controversial at the time, this film goes way beyond those narrow parameters and instead penetrates into ground-breaking novelty and trail-blazing uniqueness. Here we have a true love story, as written by the woman involved in this love affair, told in a brilliant aggressive style that extols the virtues and glory of mad passionate love. I "love" this endorsement of the only emotion that makes life truly worth living. Jennifer Jones is full of grace and William Holden is simply magnificent in his role as a reporter. A wonderful film that only people who have been in this kind of love can really appreciate and understand. And for those who haven't yet been in love, even just the hope that one day lightning can strike for you makes life worth living - because love is worth having even if but for a short time - even if you lose - because love is the "stuff" - the essence - of life. This film works for me. A warmly felt experience!

Just watched this movie with my mom. She had seen this before and remembered many scenes and liked it as much as previously. I myself like the romance between William Holden and Jennifer Jones who's not bad playing a Eurasian even though it wouldn't be politically correct for a Caucasian to play such a role today. And, yes, that title song plays as the score quite a bit though only as an instrumental until the end. And knowing this was based on a true story also made this an intriguing drama. So on that note, Mom and me recommend Love is a Many-Splendored Thing.

That line never fails to make me laugh when I hear it within the context of an intentionally dramatic scene in this atmospheric 1955 romantic sudser that was a big hit in its day thanks to the familiar Sammy Fain theme song. At the same time, the somewhat patronizing Orientalism of that line represents much of the arm's-length approach the film has in reflecting U.S. attitude toward China in the 1950's. Viewed by today's standards, the result feels emotionally simplistic like a more thoughtful Harlequin romance novel, even though the production values are first-rate. However, the bigger problem is the unfortunate lack of chemistry between the two leads, Jennifer Jones and William Holden. Their characters' romance never quite resonates, and the pacing is not helped by Henry King's lugubrious direction.

Set against the backdrop of the 1949 Communist Revolution, Han Suyin, a Eurasian doctor in Hong Kong falls for Mark Elliott, a married war correspondent. The film focuses on their somewhat illicit love story at a time when a relationship between a half-Chinese, half-European woman and an American was considered as forbidden as the resulting adultery. The racism and culture clashes between East and West take up much of the storyline with the lovers surrounded by English colonialists thriving on the class distinctions left over from the Victorian era, and by her equally traditional Chinese relatives who shun the imprint being left by the Europeans. The film benefits immensely from the use of actual Hong Kong locations with the cinematography by Leon Shamroy and Charles G. Clark providing a textbook example of how to create the right atmosphere given the exotic locations.

Because of her Svengali-like relationship and eventual marriage to mega-producer David O. Selznick ("Gone with the Wind"), Jones had an interesting array of roles during her career. She can be appealing in the right role ("Portrait of Jennie", "Beat the Devil"), but she never quite brings this conflicted character to life. Burdened with trying to look and act Chinese, she comes across as stiff and actressy, although she improves as the story moves along. As Mark, Holden is wasted in a relatively colorless role given that he was at his career peak at the time, and despite his expressions of enduring love, he can't seem to create sparks with Jones like he did with Audrey Hepburn or Grace Kelly. Even with all its flaws, the movie is still worthwhile to see for its lush production and for the surprisingly robust set of extras on the 2003 DVD with a commentary track provided by film historian Sylvia Stoddard, UCLA film scholar John Burlingame, and cinematographer Michael Lonzo. Stoddard and Burlingame fill in a lot of the interesting details on the life of the real Han Suyin, while Lonzo's comments are limited to the technical details of the CinemaScope production.

I just watched this film for the first time as an adult. I still have tears in my eyes. I wish they made movies like this now, without all the crass "sex stuff", that seems to be required all too often. Obviously, Jennifer Jones and William Holden (perfect casting) have great passion, but they have true to the mark tenderness. My favorite line is "The greatest strength is gentleness", and William Holden portrays an intelligent, gentleman. He and Jones looked fantastic in their swimsuits, and when she asked him to bring her a cigarrette behind the rocks, I thought for sure they were going to have a torrid make out scene. (Or at least torrid by 1955 standards.) But no, she makes him wait! Also, a woman physician, who is Eurasian, was quite an idea back then. This movie was way ahead of it's time in many respects. I intend to get it on DVD, so it will last forever, just like their love!

He's American. She's Eurasian. He's married. She's a widow. He's a correspondent, a man asked to watch and tell. She's a doctor, a woman asked to care and cure. He's a universalist though he's proud of his American heritage and she's not a Communist though she values her Chinese side. What else? Well, the 'he' and 'she' meet in Hong-Kong in 1949 and if you expect their differences to act like obstacles, then you haven't watched many romances in your life... or you simply didn't pay much attention to the title, if it doesn't set the tone, I don't know what it does.

I'll say about Henry King's "Love is a Many-Splendored Thing" what I said about Clint Eastwood's "The Rookie", this is the kind of film that knows what to deliver to audiences that know what to expect. Remarkable in its conventionality, nothing can put the romance off the trail, nor its ambition to paint a vivid and exquisite portrait of a love that transcends the frontiers and promotes international understanding between Dr. Han Suyin, a Chinese-British woman played by Jennifer Jones and Mark Elliott, the American Joe portrayed by the so dependable William Holden, at the top of his sexiness in 1955.

There is even a moment where the two lovers have a romantic escapade in a beach and one might feel the tide of thoughts leading him toward "From Here to Eternity", but "Love is a Many-Splendored Thing" swims in far different waters, not wasting anything for the sordid or the controversial, this is love in its purest and most civilized form, despite its efforts to paint a clash of civilizations or an internal conflict in the heart of Suyin. It never goes beyond the state of mildly expressed disagreements or "should I? should I not?" dilemmas, apart from that, Suyin loves Mark and he loves Suyin, what more do you need?

The city of Hong Kong offers the touch of exoticness without which the film would have lacked its savor, we see a hospital where Suyin's dedication is more than appreciated, her Chinese side emphasizes the devotion to her people, but her British side makes her a subject of interest or concern for the local Western citizens and a few gossipers. Suyin is literally speaking a woman of the world, two feet in worlds that couldn't have been more distinct, culturally and politically. However, when she catches the eye of handsome correspondent Mar Elliott, neither sides matter, he's sensitive to her beauty, to her own sensitivity, and never cares much about her origins.

Mark is so enamored that the only bit of adversity he can be responsible of is his status as a married man, much more to a woman who refuses to free him. Meanwhile, Suyin must deal with the obligations, the traditions, the reputation and her status as a foreigner, but while these elements are often mentioned, the film doesn't insist too much on them even when they're pointed out as threats. The story is dictated to us in a way that never distracts us from the romance and its ever-present score, last time I felt such an ubiquitous theme, it was "Lara's" in "Doctor Zhivago". The music, from Alfred Newman, is so present that I was happy it could provide lyrics at the end.

Overall, I must applaud the daringness with which King uses a material that could come off as a corny and yet employ two talented actors who make the chemistry believable. Jones is such a delight to watch and to see her smile and have her girlish side awakened (forget about Chinese or British side) when she's out of breath after climbing up that tree or giggling it like a schoolgirl after receiving a letter, and seeing Holden play the game, expose his beautiful torso, feigning amusement with the Chinese superstitions is the kind of delights you expect from these great Cinemascope movies and "Love" (to call it that way) never disappoints although it never surprises.

The film has local colors rather than colorfulness, too much elaborate dialogue to be believable and is as conventional in its narrative as it is busy with convention within the narrative, so maybe in its obsession to play in the safe side, it forgets to spice up its plot at the end and to allow the characters to bloom from the range of civilized interactions that kept the flame but never let the feelings exploded, the film lacked the burning passion so to speak.

And I wouldn't go as far as saying that Jennifer Jones was miscast, she could pass as Eurasian after all, but maybe something needed to make them a mismatched couple, I'm too much a fan of Holden to see it differently but maybe another actor might have emphasized the "tortured" aspect of that relationship, he'd play the same playboy role in another Best picture nominee of that year "Picnic" but I think Holden I one of these actors who got better with age. Jones was perhaps the first reason to enjoy the film, with the lovely sight of Hong Kong and maybe -maybe- that "Love is a Many-Splendored Thing" song, I guarantee you one thing, it won't come off your mind easily.

A Cold War version of 'Madame Butterfly' beautifully yet unobtrusively photographed by Leon Shamroy in CinemaScope & DeLuxe Color with location work in Hong Kong.

Author Hun Suyin didn't even bother to watch this film of her book, but Jennifer Jones is usually touching to watch and makes one of Hollywood's less risible attempts by a big star to play Asian (or as she would have corrected you, 'Eurasian'), and the Academy Award the film received for costume design attested that she looked good in a quipao.

First off the words to the song Love is a many splendored thing are beautiful and demand respect. For that alone the movie is worth seeing as it to hear the theme as it comes on in the background often. As to the love affair, I have seen better but for its time it probably had people bawling their eyes out as they left the theater. There was no chemistry between the two leads but the viewers imagination fills it in. How? Its a chance to fantasize about your love life past, present or future and then the movie makes perfect sense. Worthy to note that the star of the picture is really LOVE. Furthermore, how gentle love is as it makes its humble and shy appearance, performs beyond words, speaking in emotions and heart-driven dynamics only to at some point cut its visit short. Why? We don't know but while it is here and visiting or if you are expecting it or perhaps you had it... one can only say thank you when it comes to this subject. Sadly today and at times here and there, people mistake lust for it or ruin love with conditions. The thing is that it stands on its own needing nothing added to it or taken from it except for one small thing: You wish it would last an eternity.....

Those prophetic words were spoken by William Holden (as a war reporter) to the beauteous Jennifer Jones (as a Eurasian doctor), explaining his failing marriage on the beach. They start an affair, despite huge odds of adultery and racial issues. In Hollywood of the 1950s, interracial romance was allowed but only with dire consequences at the end. Beautiful Hong Kong scenery (although some beach scenes look studio-bound), a famous title tune, poetic script, lovely background music (by Alfred Newman), great costumes, outstanding performances, especially Jones (directed here by Henry King, who also did "The Song of Bernadette - 1943, an Oscar for Jones) still make this a world-class romance weeper.

The central theme of this film (based on a true story) is that true love is strong enough to overcome all obstacles. The obstacle in this case is prejudice against those from other cultures. William Holden and Jennifer Jones play the American man and the Eurasian woman who meet in Hong Kong and find love despite the taboos they dare to challenge.

The primary problem with this premise is that Jones, by appearance, is not convincingly and consistently Eurasian. She overcomes some of this by her manner and speech.

As a fan of Holden, I cannot ignore a comparison with "Picnic", also released in 1955.

In both films, Holden is the outsider--a rebellious figure viewed with suspicion, a flaunter of community standards. But in "Picnic", Holden's character must struggle to overcome his own doubts, making the struggle more meaningful and central to his character's development.

In both films, there is a musical theme that is strong. In "Picnic", the theme is better used, an actual part of the action that links the two lovers together (through dance).

In "Picnic", the love scenes are electric, charged with passion and a hunger for what might be called salvation. In "Love Is a Many-Splendored Thing", the kisses are sometimes passionate, sometimes lukewarm, perhaps due to the emotional distance between the two stars, well documented.

Though the love story in "Love Is A Many-Splendored Thing" can feel subordinate to the larger story of cultural differences, which is undeniably interesting, in "Picnic" the love story is what every element revolves around.

This film immediately catches the eye, with the atmospheric aerial views of a very pretty Hong Hong. Filmed in those rich colours of 1950 films which modern blockbusters never seem to capture. Probably a sign of those times, because this is not a high powered, seen it all before film, full of havoc and violence. The havoc and violence are there though, in the backdrop, with thousands of refugees trying to get out of China This is a very moving and compelling story, full of hope and love in a tragic time, in recent history. The story of two people from different cultures falling in love. And the build up to them trying to overcome this is at the heart of this very fine and moving film.

I had heard a lot about this film and was delighted to find it on Talking Pictures TV.

I was disappointed.

Jennifer Jones is usually good and although she is watchable here, her delivery is oddly stilted and declamatory. The film has attractive locations and is an interesting picture of life at that but as a love story it fails to convince because the leads have absolutely zero chemistry.

To me the film is flat and lacks fizz and, for me, is not worth watching again.

Dated, pointless and dull with one particularly fatal flaw; the leads have no chemistry. Jennifer Jones and William Holden are usually attractive and appealing, but they have no characters to play and their scenes together are dull, awkward and unpersuasive. The romance never ignites despite the ever present title tune. The dialog is too explanatory, the word Eurasian is used as insistently as the theme song and the supporting characters are waxworks. Jones and Holden keep going around and around the issue of their relationship with a great deal of running up to the hilltop and looking across the harbor. Filmed on location, the setting never really shapes or has any real effect on the story itself. Shockingly this banal film was nominated for 8 Oscars including Best Picture with film's score and song both winning. Films like this are made to promote understanding, but Love Is a Many-Splendored Thing is more likely to promote a good night's sleep.