Something to Live For (film)
| Something to Live For | |
|---|---|
 Original poster for the French release | |
| Directed by | George Stevens |
| Produced by | George Stevens |
| Screenplay by | Dwight Taylor |
| Starring |
Joan Fontaine Ray Milland Teresa Wright |
| Music by | Victor Young |
| Cinematography | George Barnes |
| Edited by | William Hornbeck |
Production company | |
| Distributed by | Paramount Pictures |
Release dates |
|
Running time | 89 min |
| Country | United States |
| Language | English |
Something to Live For is a 1952 American drama film starring Joan Fontaine, Ray Milland, and Teresa Wright, directed by George Stevens, and released by Paramount Pictures. The screenplay by Dwight Taylor was the first to focus on the Alcoholics Anonymous program as a means of overcoming an addiction to liquor.
Overview
The plot centers on Jenny Carey, a budding actress whose developing career is threatened by an increasing dependence on alcohol spurred by her self-destructive romance with theatre director Tony Collins. Reformed drunk Alan Miller attempts to help her by introducing her to AA, but his growing interest in her strains his marriage to Edna, who suspects his motive for assisting Jenny is more than humanitarian.
Principal cast
- Joan Fontaine ..... Jenny Carey
- Ray Milland ..... Alan Miller
- Teresa Wright ..... Edna Miller
- Richard Derr ..... Tony Collins
- Douglas Dick ..... Baker
Production notes
Screenwriter Dwight Taylor based the character of Jenny on his mother, noted stage actress Laurette Taylor, whose struggle with alcoholism kept her from acting for years at a time. She was a longtime friend of director/producer George Stevens' uncle, theatre critic Ashton Stevens.[1]
Joan Fontaine, in San Francisco for the film's premiere, told reporters Jenny Carey was one of her more difficult roles "partly because I've never been drunk." In order to achieve a convincing performance, she said, "I talked to members of Alcoholics Anonymous and watched my friends at cocktail parties." [2]
Critical reception
In his review in the New York Times, Bosley Crowther said, "Mr. Stevens' production and the direction he has given this film . . . are as sleek and professionally efficient as any you are going to see around. But, oh, that script by Dwight Taylor! It is a fearsomely rigged and foolish thing, planted with fatuous situations that even Mr. Stevens can't disguise. And how that long arm of coincidence keeps batting you in the face! At first it is simply embarrassing. Then it is vexingly absurd." [3]