Daisy Kenyon (1947)

Very best movie i ever watch

It is a performances centric movie

This is a gorgeous movie made by a gorgeous spirit.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Though the second half descends into more suds than the first, the movie is more uncompromising than I expected. Daisy (Crawford) gets caught up in a triangle between married man O'Mara (Andrews) and returning soldier Lapham (Fonda). The latter is a sweet guy who more importantly wants to marry her, while the high-powered attorney O'Mara seems more interested in himself. The trouble is Daisy can't seem to resist the self-centered attorney. Worse, he's got two loving little girls at home and a wife who would respond if he just treated her right. So, Daisy's head is pulled in one direction, while her heart is yanked in the other.Surprisingly, it's really Andrews's movie as he plays the cad to forceful perfection. At the same time, dear Joan's more restrained than expected as she anguishes over the next tug on her heart strings. Fonda slyly low-keys it until the end when we finally get some insight into the ex-soldier's taciturn style. Together, the three play off one another effectively, and they better since their interactions comprise the movie. The first half sets up the predicament pretty compellingly as we get to know the three main characters. It's hard to like O'Mara and his abrupt manner until we see him soften with his enchanting daughters (Garner & Marshall). Then too, the problems with his wife appear more his doing than hers. But is divorce the answer and does Daisy really want something more permanent with a guy who would leave such a promising family, especially with a nice guy like Lapham waiting in the wings.No need to give away the ending, except I think it's more unsparing than I expected, particularly for the two little girls. All in all, it's Joan hitting the right emotional keys, even if Andrews steals the film.

I wanted to respond to a few comments about this wonderful film (which was a strong and highly effective character study). Dana Andrews received billing over Henry Fonda because Andrews was at the peak of his career with A WALK IN THE SUN, LAURA, THE FALLEN ANGEL AND THE BEST FILM OF 1946, THE BEST YEARS OF OUR LIFE. He was a superstar at that time and held on to stardom until the early 1960s but in films of lesser quality as the years went by. He was an excellent and underrated actor.Henry Fonda, whose first starring role was in 1935, was in the middle of his long career, not in the early stages as one writer said. Fonda, after serving 3 full years in WWII, had a difficult time maintaining his stardom, was never a strong box office star but was an outstanding actor. Fonda did not make any films after 1948 until MR. ROBERTS in 1955, his comeback. He constantly did fine and critically acclaimed stage work. Peter, his son, said he was gray-listed because of his liberal political views also. Fonda worked in major films with lead roles in films and on television until his death in 1982.Fonda was under contract and was forced to perform in this film by his studio. Andrews liked working with Otto Preminger and did so 4 times. Andrews was easy to work with and the autocratic Preminger liked Andrews because of his professionalism, easy going personality and outstanding acting ability.I was surprised that something more was not said or done about Dana Andrews' child torturing wife. Andrew shed a tear but did not report this beast to the authorities. (She yanked on her child's ear until the ear bled and the child had a significant ear ache.) That, even in the dark ages, should have been enough to have the child removed from her care, wouldn't it?

The revered Otto Preminger directs three well healed actors, Joan Crawford, Dana Andrews and Henry Fonda. This drama features Crawford as Daisy Kenyon, a Manhattan commercial artist that is being squired by Dan O'Mara(Andrews), a high dollar lawyer, married with kids. Daisy has had O'Mara on the string long enough and she expects hims to divorce his wife Lucille(Ruth Warrick). The attorney pussy foots the idea and just can't bring himself to do it. Meanwhile Daisy is also keeping company with an army sergeant Peter Lapham(Fonda) actually hoping to make Dan jealous. Both men argue over her, but when she nearly kills herself in an auto accident Daisy realizes she truly loves Lapham. By this time Lucille has overheard a phone call made by her husband professing his love for Daisy...divorce proceedings will soon be underway. Two men on a string, but does she even deserve either one? Making cameo appearances at New York's fabled Stork Club are John Garfield, Walter Winchell and Leonard Lyons. Other players include: Roy Roberts, Victoria Horne, Connie Marshall and Martha Stewart. Soap opera on the big screen.

Benign affair with Joan Crawford really being unable to make up her mind who the man for her actually is. Should it be married, successful lawyer Dana Andrews or the rather dull widower Henry Fonda? Crawford chooses the latter, but a phone conversation with Andrews where he professes his love for her,is heard by his vicious wife and some fireworks start but never become blazing.Ruth Warrick is excellent as the wife of Andrews. The daughter of a wealthy man who is Andrews' law partner, she is an embittered woman who leashes her fury out on her younger daughter. I really thought there would be a tragedy there and I was glad that I'm wrong.The ending is predictable because that's the way the film should have ended. Missing here is an excitable Joan Crawford capable of anything. To disagree with other writers, this is certainly not one of Andrews' best films. To me, he will always be endearing as that soldier returning home in "The Best Years of Our Lives."