
Daryl Sutherland, in the guise of a society belle, makes the acquaintance of young artist John Lockwood at an exclusive mountain resort. Their friendship drifts into mutual attraction until Mrs.

The reels unwind like exhale of frost on velvet: Charles Horan’s screenplay knots society-page gossip with bohemian pigment, yielding a film that feels perpetually halfway between kiss and slap. Robert Frazer’s Lockwood sports the hollow cheeks of a man who paints because speech costs too much; when Daryl—Grace Daviso...


Comparing the cinematic DNA and archive impact of two defining moments in cult history.

Charles Horan

Alexander Butler
Community
Log in to comment.
" The reels unwind like exhale of frost on velvet: Charles Horan’s screenplay knots society-page gossip with bohemian pigment, yielding a film that feels perpetually halfway between kiss and slap. Robert Frazer’s Lockwood sports the hollow cheeks of a man who paints because speech costs too much; when Daryl—Grace Davison at her most mercury—admires his canvas, the glance is surgical, as if she’s pricing the frame more than the oils. Their courtship montage—ice-skating shadows captured in side-lit..."
Charles Horan
United States


Deep dive into the cult classic
Discover similar cinematic experiences
A Directorial Spotlight on Charles Horan