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Brief Encounter (1945)

Not Rated | | Drama, Romance | 24 August 1946 (USA)
Meeting a stranger in a railway station, a woman is tempted to cheat on her husband.

Director:

David Lean
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Nominated for 3 Oscars. Another 3 wins. See more awards »

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Cast

Complete credited cast:
Celia Johnson ... Laura Jesson
Trevor Howard ... Dr. Alec Harvey
Stanley Holloway ... Albert Godby
Joyce Carey ... Myrtle Bagot
Cyril Raymond ... Fred Jesson
Everley Gregg ... Dolly Messiter
Marjorie Mars Marjorie Mars ... Mary Norton
Margaret Barton Margaret Barton ... Beryl Walters - Tea Room Assistant
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Storyline

At a café on a railway station, housewife Laura Jesson (Celia Johnson) meets Dr. Alec Harvey (Trevor Howard). Although they are both already married, they gradually fall in love with each other. They continue to meet every Thursday in the small café, although they know that their love is impossible. Written by Mattias Thuresson

Plot Summary | Plot Synopsis

Plot Keywords:

1940s | love | train | shopping | housewife | See All (29) »

Taglines:

A story of the most precious moments in woman's life! See more »

Genres:

Drama | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

UK

Language:

English

Release Date:

24 August 1946 (USA) See more »

Also Known As:

Begegnung See more »

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Box Office

Budget:

GBP170,000 (estimated)

Cumulative Worldwide Gross:

$71,643
See more on IMDbPro »

Company Credits

Production Co:

Cineguild See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Recording)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The bad movie, out of which Alec and Laura walk, was titled "Flames of Passion", an in-joke reference to the British silent movie Flames of Passion (1922). The title re-surfaced several years later on a gay porn movie modelled on this movie. See more »

Goofs

Laura runs through a downpour but is dry when she walks into the refreshment room. See more »

Quotes

Laura Jesson: [Secret thoughts] That week was misery. I went through it in a sort of trance. How odd of you not to have noticed that you were living with a stranger in the house.
See more »

Connections

Featured in TCM Guest Programmer: Simon Helberg (2013) See more »

Soundtracks

Let The Great Big World Keep Turning
(uncredited)
Music by Nat Ayer
Lyrics by Clifford Grey
See more »

Frequently Asked Questions

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User Reviews

"Huge Cloudy Symbols Of A High Romance"
7 August 2000 | by stryker-5See all my reviews

Steam ... cut-glass accents ... Rachmaninov's 2nd Piano Concerto ... the refreshment room at Milford Junction ... "the shame of the whole thing - the guiltiness, the fear ..." - it all adds up to David Lean's famous film treatment of the Noel Coward tale of love blossoming and withering at a suburban railway station. Laura Jesson is a complacent middle-class housewife who gets a piece of grit in her eye one day and is helped by Doctor Alec Harvey, and the romance begins.

Coward's screenplay is characteristic of his oeuvre. There is the neat precision of the circular plot, beginning and ending with the brainless intrusion of Dolly Messiter, and the matching sub-plot of the Albert-Mrs. Bagot courtship. There are tongue-in-cheek self-references (on the cinema screen, "Flames Of Passion" coming shortly) and the trademark Cowardian grounding in exaggerated Englishness ("One has one's roots, after all"). Most typical of all is that overwrought cascade of middle-class vocabulary (" ...so utterly humiliated and defeated, and so dreadfully, dreadfully ashamed"). Coward patronises working-class people abominably. Albert and Mrs. Bagot amble effortlessly through their romance because, bless them, they are simple folk. Alec and Laura suffer torments, having so much more sensitivity, and, you see, they have reputations to lose ("the furtiveness and the lying outweigh the happiness").

Having made the transition from editor to director in 1942, Lean was at the helm for the fourth time for "Brief Encounter", all four films being Coward projects - and a highly creditable job he made of this one. The scene in which Alec explains coal-dust inhalation and Laura falls in love is a model of sensitive direction. Reflections of Laura's face in the train window and the make-up mirror suggest in visual terms the existence of her 'other self', the id to her ego. Thundering steam trains and Rachmaninov stand for the irrepressible sexual urge. Stephen Lynn's flat, with its bachelor urbanity, contrasts cleverly with Laura's safe, staid home and safe, staid husband Fred ("I don't understand!") Alec's silent hand on Laura's shoulder is wonderfully poignant, the suppressed emotion eclipsed by stupid Dolly Messiter, her face filling the screen and 'wiping out' the great moment.

Sex has to be dealt with obliquely, but it is very much the driving-force of the film. "If we control ourselves, and behave like sensible human beings ..." offers Laura hopefully but hollowly. Neither man nor woman is capable of restraint, at least until after the climax in Stephen's flat. The boathouse and the little bridge hint furtively at sexual union. Other reviewers have declared the liaison to be 'unrequited' or 'unconsummated', but I am not so sure. In the grammar of 1940's cinema, the return to the love-nest of tousle-haired, hatless Laura is the equivalent, I would suggest, of our modern bedroom scene. Isn't that why Alec suddenly decides to take the job offer?


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