THE ENCHANTED COTTAGE
Yet somehow or another it all works in a schmaltzy way, although the end explanation about how the other person becomes perfected in the others eyes because they see through the eyes of love is pure tosh. The transformation scenes are well handled the careful balance between whether the transformation is real or not is no surprise when one sees the name of DeWitt Bodeen, the author of Cat People (1942) and a number of Val Lewtons ambiguously psychological horror films listed on the credits.
Dorothy McGuires self-sacrificing performance is hard-going, but Robert Young plays with a self-pitying harshness that is not too bad. The best performance comes from Mildred Natwick who blends both sternness and genteel in what would otherwise be a throwaway role.
The film is made on the cheap the painted backdrop of the rest of the burnt house is painfully obvious. The film can never make up its mind where its location is meant to be it gives the appearances of being on the English coast but the coastline is never seen in anything other than painted backdrop, while accents waver wildly between American and English.
There was an earlier silent version of the story, The Enchanted Cottage (1924) and a modern colour remake The Enchanted Cottage (2016). All three films are based on a popular play by Sir Arthur Wing Pinero that first played in England in 1923, which wrote the story centred around a serviceman from World War I.