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It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The film may be flawed, but its message is not.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

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.

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.

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.

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.