text: George Cukor directs this high quality story of suspense in the theatrical world with his usual sensitive but firm touch. Ronald Colman's performance, which earned him an Oscar, still stands up despite a few overwrought moments  it's hard to forget his haunted countenance as he struts aimlessly around social functions and tries to find meaning in his life. There are a number of interesting subtexts and Cukor does an excellent job of making them clear without forcing anything too much. The script by Garson Kanin and Ruth Gordon is brilliant, mixing the rarified theater world with the seedy world of the streets and comprehensively utilizing elements from Shakespeare's "King Lear" as a reference to both the film's main theme of jealousy and Colman's character's obsession with identity.<br /><br />Several interesting things about this movie  superficially it could be dismissed as too flippant a treatment of the everyday problems of actors. In other words if the art of acting required such complete sublimation of individuality we would soon have a rash of psycho method actors stalking the streets. But I don't really think this story's primary concern is acting or the job/art of acting per se. I think Anthony's struggles represents a broader existential question, a deeply buried uncertainty about identity. There's a key, I feel, in his relationship with his ex-wife Britta (Signe Hasso). He says that he never would have or could have become a good actor without her inspiration. And at another point he explicitly states that his extreme identification with his roles began when he married her. I'm not sure what to make of this but it seems important to me, especially because it's his obsession with her and jealousy of her that ultimately pushes him over the top. Perhaps the implication is that Anthony put himself in danger in the first place by entering into a serious relationship. Marriage implies a "union of the soul" in the traditional conception. It's unusual that the male and female protagonists are divorced at the beginning of the film. It's not completely unprecedented (Hawks' comedy "His Girl Friday" springs to mind, among others), but it is unusual and probably significant, especially in light of the fact that they do not end up resolving their romantic separation. In a way, the film could be implying that jealousy is another form of self-love.
query: George Cukor directs this high quality
gen_review:  story of suspense in the theatrical world with his usual sensitive but firm touch. Ronald Colman's performance, which earned him an Oscar, still stands up despite a few overwrought moments  it's hard to forget his haunted countenance as he struts aimlessly around social functions and tries to find meaning in his life. There are a number of interesting subtexts and Cukor does an excellent job of making them clear without forcing anything too much. The script by Garson Kanin and Ruth Gordon is brilliant, mixing the rarified theater world with the seedy world of the streets and comprehensively utilizing elements from Shakespeare's "King Lear" as a reference to both the film's main theme of jealousy and Colman's character's obsession with identity.<br /><br />Several interesting things about this movie  superficially it could be dismissed as too flippant a treatment of the everyday problems of actors. In other words if the art of acting required such complete sublimation of individuality we would soon have a rash of psycho method actors stalking the streets. But I don't really think this story's primary concern is acting or the job/art of acting per se. I think Anthony's struggles represents a broader existential question, a deeply buried uncertainty about identity. There's a key, I feel, in his relationship with his ex-wife Britta (Signe Hasso). He says that he never would have or could have become a good actor without her inspiration. And at another point he explicitly states that his extreme identification with his roles began when he married her. I'm not sure what to make of this but it seems important to me, especially because it's his obsession with her and jealousy of her that ultimately pushes him over the top. Perhaps the implication is that Anthony put himself in danger in the first place by entering into a serious relationship. Marriage implies a "union of the soul" in the traditional conception. It's unusual that the male and female protagonists are divorced at the beginning of the film. It's not completely unprecedented (Hawks' comedy "His Girl Friday" springs to mind, among others), but it is unusual and probably significant, especially in light of the fact that they do not end up resolving their romantic separation. In a way, the film could be implying that jealousy is another form of self-love.
reference_response:   story of suspense in the theatrical world with his usual sensitive but firm touch. Ronald Colman's performance, which earned him an Oscar, still stands up despite a few overwrought moments  it's hard to forget his haunted countenance as he struts aimlessly around social functions and tries to find meaning in his life. There are a number of interesting subtexts and Cukor does an excellent job of making them clear without forcing anything too much. The script by Garson Kanin and Ruth Gordon is brilliant, mixing the rarified theater world with the seedy world of the streets and comprehensively utilizing elements from Shakespeare's "King Lear" as a reference to both the film's main theme of jealousy and Colman's character's obsession with identity.<br /><br />Several interesting things about this movie  superficially it could be dismissed as too flippant a treatment of the everyday problems of actors. In other words if the art of acting required such complete sublimation of individuality we would soon have a rash of psycho method actors stalking the streets. But I don't really think this story's primary concern is acting or the job/art of acting per se. I think Anthony's struggles represents a broader existential question, a deeply buried uncertainty about identity. There's a key, I feel, in his relationship with his ex-wife Britta (Signe Hasso). He says that he never would have or could have become a good actor without her inspiration. And at another point he explicitly states that his extreme identification with his roles began when he married her. I'm not sure what to make of this but it seems important to me, especially because it's his obsession with her and jealousy of her that ultimately pushes him over the top. Perhaps the implication is that Anthony put himself in danger in the first place by entering into a serious relationship. Marriage implies a "union of the soul" in the traditional conception. It's unusual that the male and female protagonists are divorced at the beginning of the film. It's not completely unprecedented (Hawks' comedy "His Girl Friday" springs to mind, among others), but it is unusual and probably significant, especially in light of the fact that they do not end up resolving their romantic separation. In a way, the film could be implying that jealousy is another form of self-love.<|endoftext|>
query_reference_response: George Cukor directs this high quality  story of suspense in the theatrical world with his usual sensitive but firm touch. Ronald Colman's performance, which earned him an Oscar, still stands up despite a few overwrought moments  it's hard to forget his haunted countenance as he struts aimlessly around social functions and tries to find meaning in his life. There are a number of interesting subtexts and Cukor does an excellent job of making them clear without forcing anything too much. The script by Garson Kanin and Ruth Gordon is brilliant, mixing the rarified theater world with the seedy world of the streets and comprehensively utilizing elements from Shakespeare's "King Lear" as a reference to both the film's main theme of jealousy and Colman's character's obsession with identity.<br /><br />Several interesting things about this movie  superficially it could be dismissed as too flippant a treatment of the everyday problems of actors. In other words if the art of acting required such complete sublimation of individuality we would soon have a rash of psycho method actors stalking the streets. But I don't really think this story's primary concern is acting or the job/art of acting per se. I think Anthony's struggles represents a broader existential question, a deeply buried uncertainty about identity. There's a key, I feel, in his relationship with his ex-wife Britta (Signe Hasso). He says that he never would have or could have become a good actor without her inspiration. And at another point he explicitly states that his extreme identification with his roles began when he married her. I'm not sure what to make of this but it seems important to me, especially because it's his obsession with her and jealousy of her that ultimately pushes him over the top. Perhaps the implication is that Anthony put himself in danger in the first place by entering into a serious relationship. Marriage implies a "union of the soul" in the traditional conception. It's unusual that the male and female protagonists are divorced at the beginning of the film. It's not completely unprecedented (Hawks' comedy "His Girl Friday" springs to mind, among others), but it is unusual and probably significant, especially in light of the fact that they do not end up resolving their romantic separation. In a way, the film could be implying that jealousy is another form of self-love.<|endoftext|>