Delmer Daves–for someone whose directing occasionally makes me cover my eyes in fright–does an all right job with The Very Thought of You. He has these tight close-ups and, while there are only a few of them, they work out quick well. Otherwise, technically speaking, he doesn’t have many tricks. He’s on the low end of proficient and I kept thinking, as I watched the film, what a better director could have done with the material, since the film’s so strong.
There isn’t much internal conflict in The Very Thought of You. World War II applies pressure on the characters, pushing them into conflicted situations, which gives the film a nice lightness. It gets slow occasionally, since the only foreseeable suspense throughout is Dennis Morgan’s character getting killed in battle–except he and Eleanor Parker have multiple goodbyes, only to get to see each other again before he goes off. The first act is loaded with good scenes and great conversations and, while the second doesn’t have as many, it has enough the pacing doesn’t get too bothersome.
I suppose the film is propaganda, but it’s incredibly light propaganda if it is–a shot here or there, an extra line of dialogue. Morgan looks like a leading man, but he’s probably the weakest actor in the film. I’ve seen it before but didn’t remember much and I was worried he’d be expected to carry it. Instead, Parker’s got an awful family–Beulah Bondi and Andrea King remind of wicked characters from a fairy tale and both are excellent. Obviously, Parker needs some support in the family scenes, so Henry Travers is her understanding father and does some nice work. Georgia Lee Settle is her precocious little sister and she’s good too. The 4F brother, played by John Alvin, also does some good work. The family scenes are most of the best written ones, since they have visible conflict. The other good scenes are the ones with Parker and Faye Emerson and the ones with Dane Clark as the comic relief (with a heart of gold). The romance between Morgan and Parker–the majority of the film takes place over two days–has all off-screen conflict and, though it’s the subject of the film, one just takes it for granted and engages with the rest.
The film is well-made (though there’s mediocre direction–with a few exceptions) and it’s nice and a pleasant viewing experience. Still, without any conflict and any real suspense, it’s a chore to maintain interest. It’s rewarding, but still a chore.