Pacionsbo Absolutely Fantastic

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

tforbes-2 I first saw this film in 1981 because I was and remain a Jill St. John fan. I loved Jason Robard's performance very much, and enjoyed that his character was from Glens Falls (where I lived from 1983 to 1985).This film is no perfect adaptation of the novel by F. Scott Fitzgerald, and that is reflected in how David O. Selznick reacted to its release back in 1962. But it is a respectable film made more likable by the performances by Mr. Robards, Jennifer Jones, Tom Ewell and Jill St. John.Beyond the usual, this is a film of transitions. Jennifer Jones' career, though restarting here, was really winding down, as she only made three more films before retiring in 1974. Tom Ewell is beginning to look more haggard here, compared to when he was acting opposite Marilyn Monroe some years earlier.On the other hand, Jason Robards would see his career progress further, continuing until his death in 2000. Jill St. John not only progresses from childhood to adulthood in this film, but did so in real life; she would turn 21 during the general time of the film shoot. This is also the film where she would change her hairstyle to the bob that she would wear during the 1960s.And speaking of which … Even looking at the titles of this film, one gets the feeling that, despite the 1961 filming and 1962 release, this is very much a Fifties film, and with some sense of restraint. That may be where the downfall of the film may be, but I cannot say for certain. Remember, this is the early 1960s.And if there were limits, might "Cleopatra," with its studio overruns, have made an impact? Possibly. Anyway, give this movie a chance. It is rewarding to watch! 8/10.

Charles Reichenthal 'Tender is the Night' remains one of F. Scott Fitzgerald's most important works, but, sadly, he, today, is not recognized as one of America's truly formidable writers. Film representations have not always worked, but his characterizations are etched superbly when given to the right performer e.g. Alan Ladd's extraordinary depiction in 'The Great Gatsby'. The film of 'Tender is the Night' had been criticized for all the wrong reasons, one of them, perhaps, relating to the fact that some critics continued to misinterpret the work of Jennifer Jones, surely as fine an actress of the era as is Meryl Streep today. Perhaps Selznick did limit her access to some of the best scripts offered, but, here, in 'Tender', she is still so absolutely right in every movement and shading of Nicole's character. Jason Robards, a brilliant actor, may not have been perfectly cast, but Joan Fontaine, in the latter part of her career, expertly captures the selfish, ego-involved woman of the era. Jill St. John and Tom Ewell are only adequate, but, in total, the film works because of the expert script, the cinematography, the music, King's direction, and the ever-important work of Fontaine and Jones. Both of these women essayed numerous kinds of roles in their careers. Here, Jennifer Jones is still in top form, and the film deserves to be reevaluated.

briantaves TENDER IS THE NIGHT is best appreciated less as an adaptation of the Fitzgerald novel than as an original work. At the time it was made, 1962, many of Fitzgerald's themes were still considered beyond what would be allowed on the screen. Instead, producer David O. Selznick sought a vehicle to showcase his wife, actress Jennifer Jones, and other stars were cast who were not ideal representations of the characters Fitzgerald had imagined. Veteran director Henry King, whose career dated back to the 1910s, had a long tenure as the leading house director at Twentieth Century-Fox. With this film King for the first time had a producer who attempted to dictate how shooting should be done, and he and Selznick clashed. The resulting long film satisfied neither man, and it was the last film of both.Nonetheless, TENDER IS THE NIGHT, in its own right, memorably depicts the crumbling of a talented man of promising future, played by Jason Robards as therapist to wealthy Jones in a sanitarium. Against his better judgment, the two fall in love and he agrees to marry her, despite the breach of professional standards. Over the course of their marriage, Robards loses his intellectual drive and becomes increasingly dependent on Jones, who, although she had begun desperately needing his guidance and love, gradually transforms. Jones becomes a strong, independent woman, and ultimately leaves behind the man who began as her mentor but who has lost the very qualities which attracted her to him. Yet Jones's full recovery from sanitarium to be capable of life on her own is a result of the same marriage that proved disastrous for Robards, and the complex, shifting nature of power and ambition in their union, and its personal outcome, provides an absorbing, cautionary romantic parable.

DrLenera This movie was a flop at the time and has been pretty much forgotten, which is a shame. It's a faithful adaptation of F.Scott Fitzgerald's moving story which is a touch lifeless, but still worthwhile.The plot is ofcourse very good, a love story which is intriguing and very sad. There is perhaps not quite enough emotion throughout most of the film, but by the time the end comes the film has become pretty moving. Jason Robards was definately miscast as Dick Dyver [a good name for a porn star!]but Jennifer Jones shows what a good actress she sometimes could be ,especially when she is displaying her character's 'madness' ,if that's not too strong a word. None of the supporting characters are as interesting as they should be except Jill St John's aspiring actress and there is somehow little feel for the period, but the strength of the story just about carries one through. Mention should be made of Bernard Herrmann's often touching [if a bit self derivative!]music, but having the film's theme song [which he did not write] played endlessly on the piano by one character gets a bit annoying.Despite it's flaws ,this is a fairly solid romantic drama that probably seemed old fashioned even in 1962, but deserves some reappraisal.