I have mixed feelings about this film.There are some aspects of the film I really like. For example, the acting is quite solid. Teresa Wright was a fine actress, and my favorite film of hers for me is "Shadow Of A Doubt" by Hitchcock. She doesn't disappoint here, either. I'm generally rather neutral on David Niven, but I thought he did very well here, particularly in heavy makeup as the old Rolo. Evelyn Keys, of "GWTW" fame, always did rather nicely, although I always think of her being in "The Jolson Story". Farley Granger does well as the young love interest. A surprisingly strong performance is turned in by Jane Meadows, although you're unlikely to like her role. Phillip Friend was quite good; I would have liked his role as Niven's brother to be a little more extensive. Leo G. Carroll is a welcome addition to any film. Beyond the acting, the production values here are quite strong.On the other hand, the ending is disappointing and seems to come out of nowhere. Did they simply run out of time or money? A happy ending wasn't in the cards, but a more fulfilling ending could have been developed.A very interesting scene, right near the end of the pic, is the bombing raid over London. It's well done and, I thought, showed the fear that must have been ever-present in those situations.I'll give this film a strong "7", but with the hype TCM was giving it, I was expecting an "8".

Please, be warned, it contains spoilers!!! . . I love David Niven, so, naturally, I wanted to see this movie. He's charming (as always),and the film was, indeed very well done. The music, the flashbacks, the characters are pretty well portrayed. So, that's why I've voted this movie a "5". Because, the other "5" points that it needs it's the story itself!Come on! They tell you this is "Just About the Most Wonderful Love Story Ever Filmed!" Yeah, sure. They put David Niven and Teresa Wright on the cover, smiling... so you believe it. But it's not a nice little love story. Everyone ends up alone, sad, and dead. Well, the "new generation", I mean the American ambulance driver and the Canadian pilot, gets to survive, and you can tell that they do survive and can get together because of Niven's advice... but that's not enough for me. In a love story... I want love! There's a lack of fulfillment in this movie that I can't take it. Let's face it, I like happy endings. But isn't that what they sell to you when they add that tagline?!If you are a fan of David Niven, go and watch it, If you like sad movies, when you end up with a tear or two, go and watch it.But don't expect a happy "lived together ever after" ending. There's a lot of sadness in that house. You just want to enter the movie and punch Selina (Niven's sister, who is the jerk that put them apart).

The 1940s seemed to be the decade of the romantic "women's films" featuring stars like Bette Davis, Merle Oberon, Olivia de Havilland and others. And Samuel Goldwyn had the good taste to hire the best script writers, the best cinematographers, the best musicians, and the best available actors to play in all of his films.None was more romantic than ENCHANTMENT and it has a warm glow about it, despite being a tale of unrequited love whereby an elderly man (DAVID NIVEN in convincing age make-up) recalls his younger days and his sweetheart (TERESA WRIGHT) who leaves him because of a misunderstanding caused by his neurotic sister (JAYNE MEADOWS).When a young woman ambulance driver (EVELYN KEYES), who happens to be his niece, comes to stay in the grand old house during the London blitz of World War II, he advises her not to make the same mistake he did in following his true love. Result: a happy ending for Keyes and her pilot lover FARLEY GRANGER when she goes rushing after him during an air raid.The tale is told in a clever use of flashbacks from one generation to the other, and all of it is photographed in crisp B&W splendor by Gregg Toland with a quietly effective musical score by Hugo Friedhofer. It's a handsomely mounted production, tastefully done without overdoing the sentimentality of the tale. LEO G. CARROLL is excellent as Niven's servant, realistically aged for the part of the tale that takes place in the present.Highly recommended as a quality picture of its kind.It's also a sad reminder of the fact that after leaving Samuel Goldwyn under the contract system, TERESA WRIGHT's screen career floundered and she soon found that she had to work for lesser salaries in films not worthy of her presence. She became a free agent but admitted that it turned out to be a huge mistake.

This is a lovely tale set in England during the blitz. An American servicewoman (Evelyn Keyes) stops by the house of her elderly uncle (David Niven). At first the uncle is pretty grumpy but he relents and lets her stay in his home. A little later, his nephew (Farley Granger) from Canada also stops by and much of the rest of the film is spent going back and forth in flashbacks telling the story of Niven and his step-sister, Lark (Teresa Wright), and their abortive plans to marry. Their plans are marred by the exceptionally nasty older sister of Niven, played with gusto by Jayne Meadows. In the end, the story becomes a wistful tale of what might have been. At the same time, a romance blooms between Granger and Keyes, but Keyes is hesitant. But then Niven intervenes to illustrate how his regrets in love have haunted him and convinces Keyes to literally chase after Granger in the film's emotional conclusion.The film works so well for many reasons. First, the makeup is great--the stars really were aged well and you'd have almost thought that Niven and his butler, Leo G. Carroll were really old men when the movie was made. Second, the acting was terrific--especially the wonderful job done by young Gigi Perreau as Lark as a child. Her expression was amazing and she handled the job well. Third, the music, cinematography and direction were beautifully and lovingly done. A first-class job all the way.