At the end of WWII in London, a journalist (Lana Turner) has a nervous breakdown after her married lover (Sean Connery) is killed in a plane crash. After being released from the hospital, she decides to spend the day in Cornwall on the coast of England where he grew up and lived. It's there that she meets his wife (Glynis Johns) and child (Martin Stephens, THE INNOCENTS) and without telling them who she is, spends a few weeks with them. A typical Lana Turner 1950s vehicle, it stands out from the rest of her 50s filmography for several reasons. It's in B&W instead of lush Technicolor, she has no glamorous costumes (no costume designer is credited) and the film "introduces" the pre-Bond Connery in a prominent role. Your tolerance for this sort of romantic weepie may depend on your affection or disaffection for Ms. Turner. The film's most interesting scenes are the ones with Turner and Johns due to the contrast in their abilities. Turner holds the screen as only a true Star can but Johns takes it away from her by the sheer power of her acting, letting us see her character's uncertainty, kindness, pain and humiliation. The Cornwall locations are picturesque (though apparently Italy stood in for a few shots) that one almost wishes it were shot in color and there's a romantic underscore by Douglas Gamley. Directed by Lewis Allen (THE UNINVITED) and with Barry Sullivan, Terence Longdon and Sidney James.