Christina Drayton: Now I have some instructions for you. I want you to go straight back to the gallery – Start your motor – When you get to the gallery tell Jennifer that she will be looking after things temporarily, she’s to give me a ring if there’s anything she can’t deal with herself. Then go into the office, and make out a check, for “cash,” for the sum of $5,000. Then carefully, but carefully Hilary, remove absolutely everything that might subsequently remind me that you had ever been there, including that yellow thing with the blue bulbs which you have such an affection for. Then take the check, for $5,000, which I feel you deserve, and get – permanently – lost. It’s not that I don’t want to know you, Hilary – although I don’t – it’s just that I’m afraid we’re not really the sort of people that you can afford to be associated with. Don’t speak, Hilary, just. . .go.
This was a film I’d meant to watch for a while because it was Vivien Leigh’s last screen appearance. Then it disappeared off of Instant Netflix and I kind of forgot I wanted to watch it. Luckily for me, TCM showed the film last week as part of its 31 Days of Oscar and boy am I glad that they did. I absolutely loved it. I think it might be one of the finest examples of interlocking storylines I’ve ever seen. Plus, the set decoration and cinematography were to die for. Some of the crispest B&W cinematography I’ve seen in a while. The film was nominated for eight Academy Awards, winning two: Best B&W Art Direction (won), Best Cinematography (won), Best B&W Costume Design, Best Adapted Screenplay, Best Actress Simone Signoret, Best Supporting Actor Michael Dunn, Best Actor Oskar Werner and Best Picture. The other films up for Best Picture that year were Darling, Doctor Zhivago, A Thousand Clowns and winner The Sound of Music.