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5.3/10
Senior Film Conservator
A definitive 5.3/10 rating for a film that redefined the boundaries of cult cinema. I Loved You Wednesday remains a cornerstone of transgressive art.
Okay, so "I Loved You Wednesday." If you're hoping for a quiet, subtle romance, you should probably just skip this one. But if you're a fan of old-school melodrama, the kind where emotions are huge and geography is just a suggestion, then *maybe* give it a shot. People who enjoy watching films from the 30s for their sheer audacity will get a kick out of it. Anyone looking for modern pacing or nuanced characters will find it pretty frustrating.
We start in Paris, which feels less like a city and more like a backdrop for pretty people to fall in love. Vicki Meredith, played by Elissa Landi, is a ballet student. She meets Randall Williams (Warner Baxter), an architect. They hit it off *fast*. Like, instant connection, living together, the whole nine yards. It’s all very dreamy, very cinematic, in that classic Hollywood way.
Then, boom. The movie drops the bomb: Randall has a wife back home. Not a fiancee, not an ex, but a *wife*. This is where Vicki's world just shatters. Her reaction feels authentic enough, a real punch to the gut. What did he expect, honestly?
Vicki, understandably miffed, doesn't just pack a bag; she packs her whole life and heads for South America. The change of scenery is so abrupt, it almost makes you blink. Suddenly, we're in a whole new adventure. It's a wild pivot, even for a movie like this.
There, she meets Philip Fletcher, played by Victor Jory. He's a construction engineer. Another handsome American, naturally. They fall in love. Again, it happens pretty quick. This film doesn't waste time on slow burns. It’s all about immediate, intense connection. Philip then gets called away to build Boulder Dam. I had to pause and re-read the plot summary on that one. Boulder Dam! It feels like such a specific, almost random detail to separate lovers. Like, *really* specific.
Eventually, our star-crossed lovers, Vicki and Philip, find their way back to New York City. The movie tries to convince us their time apart has made their love "even stronger." It's a nice thought, but honestly, they spent so little time together before, it's hard to feel the weight of that separation. It felt a little rushed, like the movie was trying to catch up with itself.
And then, because the plot wasn't tangled enough, Randall and his *actual wife* show up. This brings a whole new layer of melodrama. The film calls it "sophistication rears its ugly head." What they mean by sophistication here is mostly just people being polite but secretly manipulative, I think. It’s all very stiff upper lip, but with daggers behind the smiles. I found myself just wanting someone to shout, honestly.
Okay, so we have to talk about the "Dance of the Maidens" sequence. This was... something else. It's a ballet scene, obviously, given Vicki's background. But it felt so detached from the main plot, almost like a separate short film inserted into the middle. The costumes were elaborate, and the movements were graceful, sure, but it felt like a pause button on the actual story. Like, "Let's just enjoy some art for a bit, before we get back to the love triangles." It's definitely memorable, just maybe not for the reasons the filmmakers intended. It’s one of those moments that makes you think, "Did I miss something? Is this a dream sequence?"
Elissa Landi as Vicki does a decent job of conveying a woman buffeted by circumstance. She emotes well. But Warner Baxter's Randall often felt a bit too slick, too charming, even when he was supposed to be in hot water. You kind of want to shake him. Victor Jory as Philip is the more earnest of the two men, which is nice, a solid contrast.
The pacing of the film is a trip. Some moments linger, especially the emotional close-ups. Others, like Vicki's entire journey to South America and finding a new love, fly by in what feels like minutes. It's an uneven ride. One minute you're deep in a conversation, the next you're across the globe. It keeps you on your toes, I guess?
There are these little bits of dialogue that really stick out, too. Not always because they're profound, but because they're so *of their time*. The way people speak about expectations, about society. It’s a fascinating glimpse into a past era's romantic ideals, or lack thereof. Sometimes it felt like a stage play, you know? A lot of grand statements.
Ultimately, "I Loved You Wednesday" is a very dramatic film. It’s not trying to be subtle. It wants you to feel everything, all the time. The heartbreak, the new love, the betrayal. It throws a lot at you. Whether it all lands is another question.
If you're into historical cinema and don't mind a story that takes some *wild* narrative leaps, then sure, give it a whirl. But if you prefer your romance to be a bit more grounded, a bit less... global, then maybe just admire the vintage posters instead. 🌍💔
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