LETTERS FROM THREE LOVERS
US, 1973, 74 minutes, Colour.
Barry Sullivan, June Allyson, Ken Berry, Martin Sheen, Belinda Montgomery, Robert Sterling.
Directed by John Erman.
Letters from Three Lovers is a brief engaging telemovie. In 1972 a telemovie, The Letters, was produced as a compendium of three short stories all focusing on letters delayed a year in delivery. As the commentators said, 'Success means a reprise' (Leslie Halliwell) and this is it.
The film is very reminiscent of television series and works at that level popular and predictable material, nonetheless enjoyable. The film has quite a strong cast. Director John Erman directed a number of telemovies during the '70s and '80s.
1. The popularity of this kind of material - short story, soap opera elements, popular TV series elements and treatment? A style of entertainment popular because of television styles and audiences?
2. Glossy presentation? Colour photography, locations? General atmosphere of affluence? The musical score? The inter-editing of the three stories? The device of the postman explaining the situation to the audience, the establishing of the three stories, getting the letters on their way, the postman delivering each of them, his final comment? An effective device - or distracting? The holding of the solutions until the end?
3. The tone of the title-and indication of themes? Audience expectations of happy endings - fulfilled, dashed?
4. The first story: Dear Vincent. Martin Sheen's portrait of a young no-hoper - out of work, in love with Angela, going to see her in the cafe, his not being able to pay his bills, his wanting to buy the garage but not having the money, his hopeless prospects for employment? Angela's support? Her wanting to get married? The man at the bar and the robbery, calling him a fool? His imprisonment? Bitterness, hostile reaction to Angela? The support from the cellmate? His wanting Angela to write to him? The effect of the visit on her, seeming to fail? Her writing the letter - and its delay? The release from jail, tracking Angela down, the set-up for driving the getaway car, his receiving the letter and wanting to get out of it? His being taken at gunpoint? Ringing Angela, her joy in hearing him, the criminal's thinking that he was ringing the police and shooting him? The dramatic effect of Angela's voice coming through the phone as it dangled, Vincent dead clutching the letter - only a letter? The credibility of this kind of story? Its brevity? Humanity?
5. The second story: Dear Monica. The pleasure of seeing June Allyson and Barry Sullivan and Robert Sterling? Monica and her relationship to Joshua, the tension, her memory of her dead child, Joshua's being always busy? Monica's going out, the mistake in the restaurant, the encounter with Bob? Her susceptibility - the meal, his charm, the dancing, talking, the night together? Her wanting to continue the affair? Bob and his response to Monica? The mistakes and the letter not being sent? Monica's going to the hotel, her waiting, her disappointment? Her withdrawing for a year? Joshua's offer for, adopting a child? The arrival of the letter, Monica's going to the hotel, her wanting the night to be repeated - and its being impossible? Her leaving? The reconciliation with Joshua? Soap opera material - credible, enjoyable?
6. The third story: Dear Maggie. The establishment of Maggie as a working girl, wanting to be married, reserved? The irony of her going to Palm Beach, her boss leaving, her appearing to be wealthy, buying the Jewels, not telling the truth, the hero and his wanting to marry a rich-girl, his putting on the charm - and making a mistake by the poolside? His falling in love with Maggie, his running away? The letter and its delay? The arrival, Maggie wanting to meet him, their encounter in the lift - telling the truth and the happy ending?
7. The moralising of the policeman - the importance of letters, communication, accidents (how credible was the plane crash and the rescue of the mailbag?), audience response to basic and predictable emotions?
