Jennifer Jones Centennial: "Love is a Many-Splendored Thing"
Saturday, March 9, 2019 at 2:18PM Reader Request: You voted on which Jennifer Jones films we had to write about for her centennial and this was your top choice. So it's your fault, then.
One of the tag lines reads...
In each other's arms they found a love that defied 5,000 years of tradition!
'Defying tradition? But what's more traditional than Hollywood casting white stars in Asian roles?' he said sarcastically. Figured we should get this out of the way upfront and then try to ignore it: Jennifer Jones's last Oscar nomination came for playing Han Suyin, a biracial doctor, who falls for Mark Elliott, an American foreign correspondent (William Holden) in Hong Kong...
And. Well.
What else is there to say about it? The extremely barebones plot is the love story, set against the backdrop of political tensions in the East (Chinese refugees pouring into Hong Kong and North and South Korea at war). Since its an interracial love story set in 1949 we expected some heavy and perhaps dated messaging around race and prejudice, but there's not even much of that. The only objection the Hong Kong community they socialize with has to the central couple is that he's already married and that they are so public an item.
-He's married Suyin.
-So are you, John, and I go out with you.
-I happen to be in love with my wife. He is not.
The ensemble of friends discussing Mark's marital status again.
She's perpetually warned about this which did not seem unreasonable, even from progressive-minded friends since she spends the first act of the movie declaring that she's not actually interested in dating or love. The lady doth protest too much.
About those friends. While Love is... is a romantic drama first and foremost the ensemble cast is unusually vivid given how tremendously little they're actually tasked with. So cheers in particular to Murray Matheson as Doctor John Keith, Richard Loo as Robert Hung, Virginia Gregg as "practical" Anne Richards and Jorga Curtright as Suzanne who can "pass" as white and advises Suyin to do the same (which might have been an interesting scene but for the lack of any scenes elsewhere suggesting that racism exists). These modern eyes looking back at a now creaky love story, wanted more of all of these people. What's their story? Why are they all so sophisticated, accepting, generous, and wary simultaneously. Why do they love Suyin so much? For a movie based on an autobiography we dont get much background about the protagonist beyond her education, or much interiority besides the basics: she loves being a doctor (though she'll drop it at a moment's notice to spend time with her lover), considers herself Chinese despite being biracial, and loves Mark Elliott madly and all-of-a-sudden for reasons unbeknownst to us watching.
The most relaxed Jones and Holden will get with each other in the movie. And their kissing is still awkward and brief.
What little tension the movie has, comes from minor troubles the new couple has -- first, about whether or not they're actually "dating", second about how much time they do or dont spend together -- and the word "Eurasian" which is voiced 100 times in the movie by either Suyin or Mark, and usually as some sort of daunting identifier that must be addressed: Is she European or is she Chinese? Which side of her is making the decisions on their dates?!
All of this could be forgiven under "time eventually makes all movies 'problematic' since society keeps on changing" if Jones & Holden had great chemistry. That's not an unreasonable expectation with William Holden and leading ladies. But these two run only as hot as, well, the hospital's orange juice that bitchy hospital patron Adeline Palmer-Jones (Isobel Elsom) complains about. Out of curiousity I looked up anecdotes on line and apparently Holden and Jones did not like each other. Sometimes personal animosity magically makes screen chemistry even better (see: Winger & Gere in An Officer in a Gentleman) but in this case it's an issue. Since Jones favors a very pre-method acting style, operatically pure emotions (Jones would have been a great silent film star) without complicating subtext, and since so many of her personal reveries take place at the top of a hill with a lovely view, it seemed at any moment that she and Holden might break out into singing the title song together (it's as woven into the score as "The Way We Were" was into its film, which is to say that you'll be humming it for days if you watch this: Fair warning!). It's easy to picture it as a musical, given the big but broadly drawn emotions and its desire to have you swooning.
But the only scene that raises the temperature is a swimming scene. Is it coincidental that the moment Suyin finally lets her hair down (literally) with her suitor is when he takes his shirt off? It was always a good idea to get William Holden naked in the 1950s.
Movie directors and studio advertising departments obviously knew this back then.
But what else accounts for the movies appeal? Was it the travelogue nature, with multiple street scenes in Hong Kong and Macau and helicopter views of these "exotic" places? The 1950s were big on films shot abroad where people could gawk at places they'd never seen outside of books.
It hasn't aged well but in its day Love is a Many-Splendored Thing was well-received. It was nominated for eight Oscars including Best Picture and Best Actress. It won three: Best Costume Design (Jones wears a cheongsam in just about every color and they all look smashing on her), Best Score, and Best Original Song, the title song was very popular going to #1 on the charts of the time. The movie was even a big enough hit to be spun-off into a television soap opera a decade later, a show with its own problematic history. The soap originally centered around the daughter of Jones & Holden's characters in the film (a narrative leap that suggests a racier film than we just watched!), all grown up and living in San Francisco. This time an actual Asian actress (Nancy Hsueh) was cast. But since it was a soap opera CBS was upset about the prospect of interracial love stories and the character was written off the series within months!
We hope you enjoyed our short Jennifer Jones respective: the career overview, Cluny Brown, Indiscretion of an American Wife, and Love is a Many-Splendored Thing. If you'd like more, on recent Supporting Actress Smackdowns we discussed The Song of Bernadette and Since You Went Away.
Reader Comments (16)
Thank you.... I am not in love with the movie, but I know it was big in its time.
I love the theme song by the Four Aces.
The costumes and music are indeed great (as is the art direction) and Holden is, per usual, irresistibly dashing, even if he wasn't terribly invested in this picture. But it's unquestionably the worst of Jones' nominated turns and, for the most part, the film is just kind of an uninvolving snooze.
Thanks for this interesting write up. The most I knew about this film was that it inspired the opening scenes of Grease. I'd be interested to watch it for the retro-travelogue scenes.
Cameo: James Hong has a tiny appearance as one of the many cousins of Suyin's!
I loved this movie the first time a saw it. It does depreciate in value a little on multiple watches and examinations. but Jones is just luminous. I can see why she was nominated. I enjoyed the movie through the lens of "we know this isn't going to end well" tragedy. I saw two people who just couldn't end up together and if watched through that lens- the movie has some extra poignancy.
Behind the scenes though Holden tried to bed Jones like many of his costars and she wasn't having it. Holden retaliated and their relationship never recovered. Holden was arguably the bigger star at this point and Jones still had an unwarranted reputation as uncooperative from her relationship with Selznik. But she got the nomination in the end, so I guess she wins! It also makes sense why they didn't share any scenes together in Towering Inferno. They were never going to be anything like friends after filming Love is... They were barely civil at that point.
Thanks for the detailed post. I've not see the movie, but the best thing I can say about LIAMST is that it is referenced in the really delightful Maggie Cheung movie Comardes: Almost a Love Story (1996). If you haven't seen it before, please add it to your personal queue-- it's fantastic. It's a touching romantic comedy in which Cheung plays a young woman from the provinces who has moved to Hong Kong to make it big. It's a delightful change of pace to see the gorgeous Cheung featured not in a period costume drama, but as an enthusiastic McDonalds employee (!). Her character's aunt recounts how she had a lovely evening with William Holden back in the 50s when he was in town to film LIAMST. Of note, the actress who plays the aunt-- Irene Tsu-- also had an uncredited role in another Holden film in Hong Kong, The World of Suzie Wong (1960). It also has a bonus supporting role by Christopher Doyle.
Well.............Bill Holden is smoking hot in this, the scenery is beautiful, the theme song lovely and memorable (unquestionably the best thing to emerge from this train wreck) and Jones's wardrobe a knockout even if there isn't much variety to it.
But the story is piffle, Holden for all his studliness is disinterested, Jones is wretched and it's all ultimately meaningless. One of those "classics" that give that term a bad name.
A classic Cinemascope exotic travelogue romance
I understand how problematic this film has become. But in its defense, it features gorgeous cinematography, music and costumes. I’ve seen it quite a few times, and the two stars make it worth your while. It builds to a very affecting denouement; I co-sign Tom’s post about how the portent of tragedy is well-done. It doesn’t really all add up to something profound, but it is a memorable example of how Hollywood gloss can work if done right. And Jones is really touching and charismatic and absolutely deserved her Oscar nomination. Thank you, Nathaniel, for all your hard work on this wonderful tribute to a great star. I hope it prompts movie lovers to explore her forgotten yet terrific filmography. She deserves to be better remembered and appreciated.
I tried watching this a few years ago... It was so boring, I just gave up.
You have got to hand it to Jennifer Jones though. Every movie she's in, she's so different.
I was expecting an over done Hollywood romance and there is that. The lush musical score and the equally vast and lush wardrobe of cheongsam for Jennifer Jones set the tone. Yes she does look extremely attractive as does her co-star William Holden. With Jones her trademark is her ability to appear reserved in one moment and then bring a sexual intensity to the next scene. I differ from some of you in one respect however.
In the context of "The Fifties" and what that meant for women in film the role of Suyin if far more progressive and forward thinking. I was struck by the fact that this women was a professional, a doctor, who works. Very unusual for the time. Then she has an affair where she faces up to the prospect of ostracism much more seriously than her lover. (who seems to think that love will conquer all). Women in the Fifties often had nervous breakdowns after sex. When he dies, she grieves but is still standing, and will live on. (That's a pretty good outcome as these things go.)
Most women's roles, (especially in this decade) were reduced to variations of Bad Girl and Devoted wife. The role of Suyin is far more sophisticated, she makes her own choices, and is an equal. All I'm saying here is let's not be too cynical, times have changed a great deal.
But as parts for women go this was an interesting part. From a feminist perspective this film was a step up from a lot of better known films. Just my 2 cents.
Thanks Nathaniel for all your work, after this I really will be seeking out "Cluny Brown" and "Beat the Devil". So this was not in vain.
As an Asian of Ch descent, I find Jones' make up quite incredible. She really does look like an Eurasian!! I've no problem o the white washing. It's the 50s, afterall.
The movie is gorgeous to look at n the cinematography n costumes r stunning n the theme song is unforgettable.
Imo, Jones gives an above average performance. But issit Oscar nom worthy?? I dun tink so, I'd given her slot to Doris Day in Love Me or Leave Me (Smashing!) , or Jean Simmons in Guys n Dolls (Delightful), or Even Grace Kelly in her last Hitchcock, To Catch a Thief (Never sexier n confident).
Nathaniel you should have done "Portrait of Jenny" a haunting supernatural love story shot in gorgeous black and white.
Claran -- definitely not nom-worthy here! I'll take Doris Day from your choices.
I agree with LadyEdith about the character of Suyin. I was surprised by how modern she seemed in this movie.
I always thought Doris Day's best performance was The Man Who Knew Too Much. Maybe we do a Doris Day Day (haha) next?
I feel bad that I haven't had anything to say about these particular Jones films, but I did enjoy reading. Always appreciate the classic film features here.