We all want to fall in love... The experience makes us feel completely alive, where every sense is heightened, every emotion is magnified... It may only last a moment, an hour, an afternoon, but that doesn't reduce its value, because we are left with memories that we treasure for the rest of our lives...

I love watching people fall in love... It must have something to do with the excellent chemistry between the main characters...

Mark Elliott, a charming sensitive American war correspondent, arrives in Hong Kong at the dawn of the Korean war... He finds in Han Suyin an awesome beauty of true grace...

Han Suyin, a lovely Eurasian doctor is captivated by Mark's tenderness and insight...

It was instant attraction when they first met... The two commence a passionate affair, leading them to fall deeply in love...

Their love is so strong, so wonderfully expressed that highlights Elliot's married status, and the difficulties of the troubled time of the Korean War, communism and race relations...

Holden is an inspired choice for the role... Not only does he have an imposing screen presence, but he brings the perfect mix of enlightenment, compassion and emotion to the part...

Opposite him Oscar Winner Jennifer Jones, perfect in her oriental look, radiantly beautiful in that traditional and modern Asian-inspired Cheongsam... Jones floods her role with personal emotion giving her character a charismatic life of its own... She delivers a heartfelt performance turning her character into a woman who undergoes a spiritual and emotional awakening...

Her scene in that verdant hill where she takes refuge is exquisitely touching specially when we heard Mark's voice whispering: "We have not missed you and I... that many-splendored thing."

Henry King - who has established himself as a masterful director of romances - spreads the theme tune (by Alfred Newman) in the air above the cosmopolitan harbor... His film is colorful, elegant, with excellent cinematography and set design...

Nominated for eight Academy Awards, this beautiful and sensitive motion picture won three: Best Costume Design; Best Music and Best Score...

Love is a Many-Splendored Thing (1955)

This should have been could have been terrific, and it won five (five!) Academy awards, including for it's now more famous title song. One reason it was a hit was it was deeply romantic and epic and yet dealing with a vividly disturbing issue for Americans, the take over of China by Communist rule.

William Holden, at the height of his fame, holds his own in his restrained and slightly diffident way, and Jennifer Jones is forceful and believable and likable, if a hair too mannered for my taste and too frankly lovely for the good of the movie. This is a love story set against a new kind of wartime, leading eventually to the Korean War, and there is nothing better for a movie than love and war. Ask Tolstoy. The filming is wide screen saturated color in that first two years of this kind of spectacle, and like other films of the mid-fifties it falls victim to being pretty at times. The events are set in Hong Kong and that's part of the visual charm, but it's also a distraction for the filmmakers, drifting (just slightly at times) into a travelogue.

There, all my reservations are out of the way. If you can not worry about how "good" the movie is or what it could have been (compared to others, or just on it's own formal terms),it's a vivid, engrossing, politically loaded situation with two charming and beautiful actors. It might be a surprise that Jones plays a Chinese doctor (Eurasian, officially),Dr. Han Suyin (Jones was actually an Oklahoma girl),but this is what Hollywood was still demanding of its casts, afraid to diversify. And depending on star power to succeed. Holden plays Mark Elliott, a journalist.

As the affair begins between our leads, Dr. Han Suyin (a widow) says to Elliott, after he wonders why she'd go out with a married man, "I thought if you were happily married there could be no danger, and if you weren't it could make no difference." And it begins there, freighted with desire and worry. You know somehow that things will not go smoothly, and they don't, though the plot is oddly prosaic at times. It's partly the script, but also, oddly enough, the filming, with a very static camera (which sits and waits as the actors talk, beautiful backdrops and all). I think Jones and Holden are "creditable" in their roles, a good word because it's so awkward and awful.

One thing that happened for me, in 2011, was getting washed in nostalgia. It's a movie about falling in love as the world is spinning out of control around you. It's before cell phones and constant news--so some of the best scenes are out of touch with everything in the world except the two of them. The music swells, the sun hits the blue waters in the bay, and it seems like a huge escape. I suppose that's what it was for them, from their histories, from their obligations. Eventually the world caught up, however, and things unravel.

Another great thing about the movie, however old-fashioned the approach might seem, is the racial conflicts at work, for and against them. It is maybe the big theme of the movie, when all is said and done. This is a tear jerker of the largest magnitude. Soak it up.

Han Suyin's autobiographical novel "A Many-Splendored Thing" becomes glossy, unconvincingly clean and luxurious romance set in Hong Kong, 1949, wherein a widowed female doctor of Chinese-English descent falls for an American correspondent stuck in a loveless marriage. John Patrick adapted Suyin's story, apparently turning her heartfelt remembrances into swooning romantic dross complete with poor dialogue exchanges (He: "I can't believe you're a doctor." .. She: "Too bad we don't have a scalpel, I could make a small incision."). Dark-haired, pale-skinned Jennifer Jones meets handsome, smiling William Holden at a party and immediately feigns indignance, as if widowed women bury their sexuality (or feel they must appear to) once a man takes an interest in them. Henry King directs the proceedings with a gentle touch, bringing it all to a misty-eyed flourish, yet Jones' character is never an embraceable one. Constantly referring to her heritage (and the fact she's "Eurasian"),this lady is forthright in all the wrong ways (she'd be more likely to turn off Holden's reporter rather than keep him around). Jones (who got an Oscar nomination) and Holden do create a loving rapport which becomes sweeter once Jennifer loosens up. This hard-working woman curiously puts a great deal of stock into superstitions (omens, Proverbs, butterflies),which seems out of step with such a no-nonsense lady; the sequence where she travels back home to Chunking to visit relatives is also odd (it doesn't take shape, it just appears as though she's running away). Holden performs in a low, easy key and glides through rather unperturbed (nothing ruffles this guy, but there's nothing to explain his devotion either; the man is obviously touched by this woman, but that doesn't tell us much about him). Alfred Newman's Oscar-winning music (and the memorable, Oscar-winning theme song by Sammy Fain and Paul Francis Webster) are lovely, and the locations are gorgeous, though the obvious studio shots are too tidy--even the hospital where Jones works seems overly opulent. A nice-enough weeper for soap fans, though one without the substance to entice a wider audience. **1/2 from ****