Perhaps the finest American film from the famed European director Max Ophüls, the film stars Joan Fontaine as a young woman who falls in love with a concert pianist. Set in Vienna in 1900, the story is told in a complex flashback structure as the pianist, Stefan Brand (Louis Jourdan), comes upon a letter written to him by Lisa Berndl (Fontaine), a girl who has been in love with him for years. Stefan is in the process of fleeing Vienna on the eve of fighting a duel. As he prepares himself for the
nocturnal journey, the letter arrives. It begins, "By the time you read this letter, I may be dead." As Stefan sits back in his study to read this letter, it turns out to be a confession of unrequited love from Lisa. The story flashes backs to when Lisa was 14 years old and Stefan was her neighbor. After following Stefan with a girlish obsession, the romance gets much more serious, and they have a brief encounter. Stefan promises to come back to her after a concert tour, but he never does. Meanwhile, Lisa marries another man when she discovers that she is pregnant with Stefan's child. When she runs into Stefan years later, he doesn't remember her and tries to seduce her. After Stefan reads the letter, he wants to rush to her side, but now poor Lisa is dying from typhus. ~ Paul Brenner, Rovi
Letter From an Unknown Woman (1948) is the classic romantic film - a lush tearjerker par excellence - of the bittersweet theme of unrequited, lost love
A young girl's infatuation with a womanizing concert pianist ends in tragedy. What I like best about this elegant weepie is the way that it gently subverts Fontaine's typical screen persona. At first glance, her character is every bit as mousy and vulnerable as usual, but behind this façade lies a remarkably
strong-minded young woman; she knows what she wants and - flouting all respectability, and against her own better judgement - she sets out to get it. Although the film chooses not to dwell on the ensuing scandals, on more than one occasion she sacrifices her good name and social standing for the man she loves. I also like the way that Ophüls credits us with intelligence enough to draw certain parallels for ourselves, without spoon-feeding. A good example of this would be the scene where Fontaine says goodbye to her son at the railway station; many lesser directors would have inserted a flashback to her abandonment by Louis Jourdan at this point, or at the very least a snippet of dialogue from that earlier scene.
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