Three young, smart, attractive people – Gilda, a commercial artist, the painter George and the playwright Thomas – meet on a train to Paris. Their initial conversations may not be entirely friendly, but the sparks that fly as they exchange zingers make it clear that the men are attracted to Gilda, and vice versa – and how could they not be? They’re witty, they’re attractive, and they’re in Paris. Soon they fall: both of the men for Gilda, and Gilda for, well, both of them. She can’t choose, and she won’t choose – so Gilda, George and Tom come up with a plan: they live together as Gilda is a friend, a muse and a critic to both men. They make a gentlemen’s agreement to make sure that this will work: no sex.
Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!
David Lean is best known for movies that were anything but lean. Lawrence of Arabia, his longest feature, clocks in at 3 hours and 48 minutes, and Doctor Zhivago, Ryan’s Daughter and A Passage to India are significantly longer than your two-hour standard feature. These movies, however, are from the second half of his career; from 1940 until 1955, he was perfectly able to keep it brief, bringing in two Dickens novels (Great Expectations in 1946 and Oliver Twist in 1948) in well under two hours. He was an editor on much more movies than he was a director, so he knew how long a story had to be in order to be told well. Continue reading →