User reviews

This film is based upon a novel by a long-forgotten novelist, Arthur Stuart-Menteth Hutchinson (1879-1971), who was born in colonial India, and who earlier wrote a novel called THE HAPPY WARRIOR which was made into a silent feature film as long ago as 1917, in which Leslie Howard made his first feature film appearance. This film, IF WINTER COMES, was also initially made into a silent film in 1923 with a cast of actors all of whom are now entirely forgotten in the mists of time. The very powerful and disturbing story was thus a postwar tale, but one told of the aftermath of the First World War, but which is here recycled and set in the aftermath of the Second World War. Walter Pidgeon plays the lead, a gentle and kindly man living in the fictional Surrey town of Tidborough and married to an embittered harridan of a wife, played by Angela Lansbury, who certainly knew how to play embittered women and have a pinched face and the tongue of a serpent. The film is chiefly notable for the second screen appearance of Janet Leigh, aged twenty but successfully playing an innocent 16 year-old girl named Effie Bright, who is all sweetness and light. And who ever had a sweeter smile than Janet Leigh at this age? Despite being American, she manages a British accent successfully enough. The romantic female lead is played by an impassioned Deborah Kerr, at her most intense. She has returned to the town and has her heart set on joining up again with Walter Pidgeon whom she had jilted three years earlier when she ran off and married the wrong man. Pidgeon is a bit wooden, so that one wonders why all this passion is swirling around him. He is excellent at being kindly and noble, and in fact during my brief acquaintance with him in my teens, he was exactly like that offscreen. 'You couldn't find a nicer man.' But that is not the same as inspiring an controllable passion in Deborah Kerr when she is on heat. Oh well, that's the movies for you. Victor Saville did an excellent job of directing, and the film works very well. Dame May Witty has a cameo role, and it is always a pleasure to see her. The story however is very powerful and upsetting. It is about a man with a good heart who through his kindness becomes a central figure in a vast misunderstanding, where he stands accused of all sorts of terrible things which he did not do. Most of the people of the town are exposed as bitter and small-minded, and they turn against him en masse. It is really very harrowing indeed. This makes for good drama, and there is plenty of desperate tragedy.

If Winter Comes is an unusual story that pits pits Mark Sabre, a kind and respectable man played by Walter Pigeon, against a town that seems bent on vilifying anyone who strays from the straight and narrow, even when there is no real evidence for his presumed misdeeds. Walter Pigeon is in his usual role as a model citizen, which he plays so often in movies like Mrs. Miniver, Advise and Consent, and Executive Suite. Janet Leigh, Deborah Kerr, and Angela Lansbury, play his friend, lover, and wife, in that order. Janet Leigh was particularly good as the innocent girl, with whom he is presumed to have a romantic interest. Deborah Kerr is his real love interest and whose love and loyalty is unwavering. Deborah Kerr is usually typecast in roles as the English lady who is never quite at ease with the opposite sex. In this movie, she has no doubt about who is the love of her life and pursues Mark, despite the steadfast love of her own husband. Finally, Angela Lansbury is very cold, efficient and downright mean as Mark's wife. Reginald Owen is the boss who uses a morality clause in Mark's contract to get revenge on a man whose generosity and common touch are too unconventional for his liking. I was pleased with the cast of the movie with Deborah Kerr shining in the final court room scene.

Set in a small English town just before the beginning of WW2, the story follows the trials and tribulations of Mark Sabre (Walter Pidgeon), a good, decent man married to the shrewish Mabel (Angela Lansbury). He's secretly in love with the also-married Nona Tybar (Deborah Kerr), but both are hesitant to make a move forward. When the war breaks out, Mark discovers that young Effie Bright (Janet Leigh) is pregnant, and the father is a mystery that she won't divulge. Forced out onto the streets by her religious father, Mark agrees to take Effie into his home, much to the rage of Mabel, and the condemnation of his fellow townsfolk.

The overstuffed script reveals the material's literary roots, with perhaps one or two too many minor characters for the 90+ minute running time. I get the feeling this was supposed to be a an Oscar contender for Walter Pidgeon, but he's not quite up to challenge, faltering in the film's last act with some amateurish acting. 19-year-old Janet Leigh, in only her second film, seems to have had trouble with her British accent as much of her dialogue is noticeably looped. Poor Angela Lansbury was only 22, and she auditioned for the role Leigh got, but was instead cast as the disagreeable wife of 50-year-old Pidgeon. Kerr often seems like an afterthought, a victim of the script trying to do too much. The clash of old morals mixed with small-minded people and small-town gossip would make this a good addition to a triple bill including My Reputation and Cass Timberlane.

Despite some of the negative reviews on this site, I really enjoyed this 1947 film, which is set in England right before war is declared in Europe.

Walter Pidgeon is Mark Sabre, a successful writer of children's books, who works at a prominent publishing house. He is well respected and liked in the small town of Penneygreen, where he lives. Though he is a shareholder in the company, he will never be made partner because his boss thinks that Mark's political views are too radical. In fact, he'd love it if Mark weren't even in the company. But the only way he can get rid of him is if Mark violates the morals clause in his contract.

Mark married the formal, somewhat cold Mabel (Angela Lansbury) on the rebound. Now his former love, Nona (Deborah Kerr) returns to town with her husband after a long absence. Nona and Mark realize that they are still in love, but decide for the moment that they can't act on their feelings.

Mark's situation is complicated by a young pregnant woman, Effie (Janet Leigh) who turns to Mark for help after her father turns her out. Mark takes the girl in, and Mabel, believing him to be the father, leaves him. A scandal erupts, and Mark's career and reputation hang in the balance.

"If Winter Comes" is an absorbing drama with good performances. Walter Pidgeon was a solid leading man and is sympathetic and strong here as the principled Mark; as the nasty Mabel, Angela Lansbury, then only 21, is very effective. With darker hair and the way her makeup is done, Deborah Kerr continues to remind me of Maureen O'Hara in her early films. She gives a lovely performance, a good juxtaposition to Lansbury's judgmental, snobbish Mabel. As Effie, Janet Leigh justifies her discovery by Norma Shearer; she sports a good English accent and gives a heartfelt portrayal. Binnie Barnes, Dame May Witty, Reginald Owen, Hugh French, and Dennis Hoey round out the excellent supporting cast.

Recommended, and not only to people who liked Mrs. Miniver.

This film begins in England...just a few months before World War II begins in Europe. Mark (Walter Pigeon) and Mabel Sabre (Angela Lansbury) have been married three years--and it turns out he married her on the rebound. His old fiancée, Nona (Deborah Kerr) has just returned to her home town....the first time since she broke Mark's heart. Mark and Nona are foolish, as the start spending time together alone 'as old friends'. Not surprisingly, however, it stirs up feelings within them--dangerous feelings for both their marriages. Soon, however, Mark pushes Nona away and remains true to his wife.

Over time, it becomes painfully obvious that Mark is a very nice guy. While his wife is easy to dislike since she's so unpleasant, he wants to fulfill his obligations to her and the marriage. He also is very kind to a young neighbor, Effie (Janet Leigh)--as she lives with a puritanical and tyrannical father. When Effie becomes pregnant and is thrown out of her home, Mark invites her to live with them. This throws Mabel into a nastier than usual mood. She verbally abuses her servants and so they quit, then she lets Mark know that Mark must do nothing to help Effie. Mark chooses, instead, to tell his wife to get out...she's gone too far.

After young Effie moves in, Mark's boss uses this as an excuse to break his contract by firing him. They claim he's violated a morals clause. Can things get worse in this very soapy film....oh, yeah! The moralistic town begins to boil like a cauldron...why and what happens is something you'll need to see for yourself. Be aware, however, that it is a bit racy for a 1940s film.

While you do feel sorry for Mark because he's such a decent guy, as you watch you might also feel that he's incredibly foolish and makes many dumb choices. Clearly he's backed himself into a corner and now it looks like everyone is ready to tear him to pieces.

Despite Mark being a bit dumb (and by the end he seems like a TOTAL idio), the film is pretty good. As I mentioned above, it is very soapy--like a traditional soap opera with LOTS of salacious elements. But it works because the acting is so good--otherwise the film might have come off as too over the top and perhaps even silly. Worth seeing but blunted a bit because Mark was just too nice--almost a putz in the film. Otherwise I might have scored it a bit higher.

This MGM film from 1947 was based on a fine book from the 1920s set in the World War One era. That book, and the silent film originally made from it (which I think is lost) were extremely popular in their day, though largely forgotten now.

The story, with spiritual-religious overtones, is about Mark Sabre, a man who is truly doing his best to live according to his principles.

It's set in a small English village, where, despite being misunderstood and even persecuted for his humanitarian actions, Sabre carries on according to his values. In the course of events, he loses his job, marriage, even his health, but refuses to surrender or lose his soul, as it were.

The updating of the story from one war to another (World War Two) seems rather arbitrary. It should work, but the whole thing had more validity in the earlier period. I'm not sure why.

There's also something slightly off about the tone of the production. There's not enough subtlety, especially in the rather heavy-handed direction (Victor Saville). Some of the supporting characters aren't very well rounded - especially when they're the less likable ones. Angela Lansbury as Sabre's wife and Reginald Owen as his boss fall into this category. They're almost hissable villains, at times.

Deborah Kerr and Janet Leigh, on the other hand, come across better as more likeable and principled people in Sabre's life.

Walter Pidgeon is meant to carry the film, more or less (Kerr, the leading lady - though excellent - has less screen time). As an actor, Pidgeon is, as always, good, but still not in the category of a Ronald Colman or a Robert Donat. He's also too old for the part, and (though it's not that important), not actually English.

Nonetheless, it's a compelling story, and, while the film is no masterpiece, the basic plot and premise of the original novel carry it along and hold the interest.

A melodrama which takes off mainly in its second part ,when Sabre (Pidgeon) does everything to help Effie (Janet Leigh) ,the unfortunate young girl who falls pregnant

at a time it was not considered "correct" by well-meaning people.Fine depiction of everyday life and plenty of talk of the town.

Angela Landsbury's and Walter Pidgeon's marriage is on the rocks .He is in love with another woman (Deborah Kerr).As I wrote above,best scenes are those when Pidgeon is alone against the whole town who suspects him of having got Effie pregnant.

Should appeal to people who like stuff like "Mrs Minniver" (1942),but Wyler's work is much better though.

I'm in the middle of watching this movie, and it's super enjoyable if you love soapy melodramas, as I do, but....the main character, Mr. Sabre is old enough to be the dad of the Deborah Kerr character, and also Angela Lansbury who plays his wife! I'm not noticing any reference to this age difference in the script, so it must be one of those casting choices they considered normal back in the day, like when Fred Astaire was paired with lovely young women like Leslie Caron. This fella has a double chin, a bit of a constant five o'clock shadow, and the wear and tear of a life well lived, while the girls are fresh faced twenty something's! It freaks me out. But this is a quality film and I'm watching it, just the same. The age difference is just a common element of many movies-even newer ones! So I'll just put it aside and enjoy the flick for what it is-escapist melodrama, a favorite of mine, I have to admit.

This movie, wonderfully performed, touches some deep aspect of human life under stress. The combination of war and love affairs is not new. Neither it is the attraction between a mature man and a young girl. However, the spectators must be mislead if they follow that path. Why the movie is about trusting, at different levels: husband and wife, lovers, mature and young, at home, at work, at the pub. There is also a political involvement: the voice of the people, which has two sides. Love can be lost, honor will not. This motto is crucial.The war is an ominous backstage, never shown. Walter Pidgeon makes an extraordinary performance, the rest of the cast does not lag behind. The final scene is simply convincing: as it has to be. Appreciating it requires some insight, undoubtedly.

As mentioned in another review this film admittedly appears flat in the beginning, but develops rapidly into a well-blended story about true love, charity, and the foibles of human misunderstanding and communication akin to those so eloquently portrayed in the American film 'Peyton Place.' Both films are set in small, idyllic towns as well, with this one in England, and both films show the ongoing impact of WWII loses of native sons on their respective communities.

The addition of three extremely accomplished actresses in the initial flash of their stardom -- Angela Lansbury, Deborah Kerr, and Janet Leigh -- makes this film evermore an enjoyable watch.

Perhaps a stronger director and a more powerful script could have made something of IF WINTER COMES, a handsomely produced soap opera (veddy British style, old man). WALTER PIDGEON is a writer of educational books who sees his job status disintegrating under the weight of a scandal when a young girl (JANET LEIGH) is given shelter under his roof due to his kind nature. His shrewish wife (well played by ANGELA LANSBURY) suspects he's paying too much attention to the girl and later accuses him of adultery.

But this is no "Peyton Place," even if the bare outlines of the story makes it seem possible that something more than this tedious film could have been made from this material. Some interesting character roles by REGINALD OWEN and JOHN ABBOT as his office colleagues bent on destroying him are good for background effect. But the story between him and DEBORAH KERR (they're ex-lovers) is weakly executed and their relationship is never clearly defined or made even somewhat believable.

Handsomely photographed amid some very British looking settings, supposedly in 1939, the story never really comes to life despite the lurid implications. Pidgeon calls every male friend "old man" so many times, you have to wonder if this was an attempt to make sure the viewer knew this was taking place in Penny Green, England rather than the MGM lot in Culver City.

JANET LEIGH, as the sad young woman who finds herself pregnant after her soldier lover goes off to war, shows promise of the bright future in store for her as an actress. DAME MAY Witty has a brief supporting role, one of the least substantial roles she ever had in an MGM film.

Character development is slow for the first part of the film and the story doesn't even begin to take shape until the first hour is up. By that time it's too late to inject any life into it.

"If winter comes, can spring be far behind?" says the poem. Not soon enough for me.

Summing up: A dud that wastes a talented cast.

I watching this hoping the great Angela Lansbury would be playing a vengeful, witch of a wife pitted against the wonderful Deborah Kerr. No such luck.

The plots swings all over the place with each substory never being fleshed out properly.

This was sort of two movies in one. It started out with Angela Lansbury as a self-centered woman who was fearful that her husband (Walter Pidgeon) would be drawn back to his old flame. Lansbury was quite good as the wife who had an interesting approach to this situation. But later, the movie turned into a story about a young woman (Janet Leigh, doing a good British accent), who turns to Pidgeon for help and inadvertently causes a host of problems for him. Deborah Kerr is also good as Pidgeon's old girlfriend, but even with the good cast, the movie overall is little more than a confused soap opera, and the ending doesn't make much sense. Not one I'd recommend, unless you're a particular fan of anybody in the cast.

First of all will you tell a couple of the birds who wrote critiques of this picture that a pigeon is a bird, and that Pidgeon is a movie actor. For heaven's sake, if you are going to try to sound so learned, at least get the name of the leading man straight. Look - Pidgeon, Pidgeon, Pidgeon. Got it??? As for the picture itself, it is a delight for those who enjoy such movies as "Love Story" and "An Affair To Remember." This one does not have the big budget, but it has the same affect on the heart.

Pidgeon - the actor - is a little too goody-goody, but he is always a joy to watch as he is in this movie playing, to say the least, a misunderstood gentleman. Co-star Kerr is at her loveliest/sweetest, and Angela Lansbury is at her bitchiest without going overboard about it.

This was an early effort for Janet Leigh who is super cute/sweet, a real heart capturer.

The trial scene was effective, and all in the cast were quite good. If you want a warm, heart-tugging movie, try this one on for size. It will fit.

What a dreary, dreary moment in time that crept along like a slug half dead. Soap opera that had virtually no entertaining moment worth mentioning and certainly not worth remembering. I don't know the book but if this is the meat of the story, I'd rather go hungry. Interesting in that several actors played contrary to their usual characterizations: John Abbott, Reginald Owen, both ordinarily pleasantly balmy, now outrageously mean-spirited; Walter Pidgeon, upright and moral, as per usual; Deborah Kerr, 2nd Hollywood film, restrained in her perfect lady; Binnie Barnes, an amusingly awful "friend". (They should've used her better in movies, certainly capable.) And Angela Lansbury was just annoying in her kept under the wraps hysteria. She looked ready to explode and kill everyone long with herself. Janet Leigh, however, shone, including her well-done English accent. The kind of film that makes your skin crawl with everyone playing dullards mucking around in the soap. And the ending, the height of absurdity. 5 stars for the scenery, the only part that felt right. Or right-ish, anyway.

(1947) If Winter Comes DRAMA

Another silly soap opera full of misunderstandings and over reactions which has remnants of "The Ox-bow Incident" except this one is a non- Western involving a lot of imbeciles jumping to conclusions. Adapted from the novel by A. S. M. Hutchinson that involves well intended writer Mark (Walter Pidgeon), a writer of school textbooks and Nona (Deborah Kerr). I had no idea if this film was more a social commentary or an actual event that actually happened, and then by the time the film was over- I ended up not even caring about the film all together! Overall, kind of pointless.

Good deeds better be their own reward since they can easily backfire as the movie shows. Poor Mark Sabre (Pidgeon) undergoes something of a mid-life dedication to doing good for others above everything else. Maybe it's a reaction to his cold-hearted wife (Lansbury) or renewed affection for now married former flame Nona (Kerr). Whatever the reason, circumstances are conspiring to ruin him because of his kindness. So how will things finally sort out.

It's the kind of production MGM specialized in—classy players in classy surroundings (British). Nonetheless, the topic of unwed motherhood was rather daring for its time, figuring quietly but importantly in the plot here. It's Britain 1939 and civil society is responding to WWII mobilization, including the small town of Pennygreen, whose sons are suddenly marching off to war. While on the homefront, volunteers are flocking to boost civil defense.

The movie's first part meanders some, appearing to head in one direction— namely, straightening out Sabre's love life. But then his lady-love Kerr largely disappears from screen, gone into civil defense. At the same time, the second part changes direction, picking up in suspense, when the unlucky Effie enters the picture. Because of Sabre's selfless attitude, we can't be sure how the movie will end. Still, I wonder if there isn't a backstory to Kerr's abrupt absence and the resulting shift of direction.

Anyway, in my book, a youthful Leigh steals the film with a highly sensitive turn as the star-crossed Effie. It's easy to see why she climbed the Hollywood ladder so quickly. At the same time, the unknowns playing High Jinx and Low Jinx manage to spark proceedings with their imaginative character concepts. Of course, vets like Pigeon and Kerr come through on cue, while Lansbury's stony wife would send any guy packing.

All in all, it's well done soap opera with a few surprises that should please fans of tangled relationships.