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...there's no denying that the literary concept of the 'odd couple', has made for countless interesting and intriguing motion pictures, since...well, since the onset of the motion picture, itself. Two characters...polar opposite of each other...different worlds...forced to exist, at least for the moment, within the same circle...sometimes enemies, often just indifferent of each other...frustrated over each other's differences, and yet, out of irony, managing to find common ground to work with, out of their similarities. But then, considering those ideals and observations, let's break it down to specifics...not just merely two different people. How about man and woman?? More specific, you say?? How about one of dutiful spirituality, and the other, of spiritual indifference?? We've all see this type of thing before, as well...'63's "Lilies of the Field", '75's "Rooster Cogburn" and '51's "African Queen", just to name a few. But then, "The African Queen"...with oddly, though ideally matched Humphrey Bogart and Katharine Hepburn as the film's dueling protagonists...wouldn't be the first time that grizzled and seasoned filmmaker John Huston touched upon the classic 'odd couple' concept of one character being dedicatedly pious, and the other...well, to read the opposite side of the coin, one much more opposingly and conflictingly impious...with the result, invariably quite compelling and moving...
...it's 1944 wartime in the South Pacific, and gruff & grunt Marine corporal Allison (Robert Mitchum) finds himself forcibly set adrift in an emergency rubber raft, after having been abandoned by the submarine, which he was disembarking from...itself, forced to submerged, upon being detected and fired upon by Japanese naval forces. After several grueling days at sea, and having lost all bearings, Allison is washed ashore onto an unknown island; there, he finds the remnants of a post...living quarters, and a chapel...with the settlement's only resident...a waif of a woman (Deborah Kerr), in nunnery clothing. Sister Angela introduces herself...a fledgling nun, who has yet to assume the formal vows of her intended and devoted position...
...for the moment, resigned to the suggestion that they may be alone on the island for some time, Allison and Sister Angela pull their efforts and resources towards building some semblance of life and survival...gathering vegetation, and occasionally catching sustenance from the ocean waters, itself; during quieter moments of solace, the two of them discuss how they came to be where they are, as well as finding an embraceable common denominator with each other, in regards to each other's dedication to their present or intended vocation in life. These moments of reflection, quietness and comfort are short-lived, when Japanese naval forces lay siege on the area, forcing Allison and Sister Angela to take emergent shelter in camouflaged caves, overlooking the camp...
...dutifully bound to go down and see what level of forces have invaded the island, as well as the intent to scrounge up some supplies, Allison...despite Sister Angela's pleading not to do so...sneaks down to the settlement, under cover of dark, and almost gets caught, before hurrying back to the caves...and his very worried companion. When distant American naval forces fire upon the island, the Japanese quickly pack up and leave; elated that the threat has gone, but frustrated that their saviors had not considered checking out the island, after driving the Japanese away, Allison and Sister Angela return to the camp; in celebration, the two indulge themselves on the surplus supplies, left by the Japanese...including a hidden caste of Saki. In a state of reckless drunkenness, Allison bears his soul to Sister Angela, saying that he loves her, and suggests that it might be a waste, in her devoted pursuit of her religious vows, as they might not get off the island for quite some time. Upset and quite taken aback at Allison's slurred, emotional and seemingly irrational comments, a sobbing Sister Angela runs off into the night jungle, now being awash by a torrent of pounding rain...
...quickly sobering himself up, a frantic Allison goes off, in search of Sister Angela; he does find her, but as the result of the acclimate weather she has subject herself to, she has become almost deathly ill; to make matters worse, while attempting to bring her back to the camp and help her, Allison is aghast in seeing that more Japanese forces have returned to the island, once again taking over the beach-side settlement. Retreating back to the caves with a delirious Sister Angela, Allison now finds himself in the throes of a compounded dilemma...the dire need to nurse his companion back to health, and once again, the need to muster up the gumption, in raiding the enemy-occupied settlement, to get the emergency supplies needed to help the ailing Sister Angela. If there was ever a time for a sign...a miracle from above.....
...as might be expected, in a film as compelling as this, there's a certain measure of enacted frustration and uncomfortability between these two polar opposite characters...as brilliantly and solidly played out by actors Deborah Karr and Robert Mitchum...which is, of course natural, considering their associated devotions to 'higher causes', and on the whole, the ensuing behavior only serves to up the ante, as far as the drama and intrigue; but then, thanks to the powers-that-be, who wrote this wartime melodrama, those frustrating and uncomfortable moments are not allowed to become ugly and overly embarrassing...save for the moment when the marine pours his heart out to the nun, albeit under drunken pretenses and influence. In fact, despite the mutual clash of differences with each other, the characters are still shown, even right from the start, to exude a good measure of respect for each other, and their steadfast, unswerving, seemingly unshaken positions in life...
...as intriguing, compelling and powerful as the melodrama and character play herein, most certainly is, "Heaven Knows Mr. Allison" really kicks into gear, during the moments of tension, as the result of having to confront the invading Japanese militia. Allison's first venture into the enemy-commandeered camp...stealing into their supply hut, and having to quite virtually hide in their very presence...the possibility of detection, ever-lingering in Allison's mind...and having to maintain his evasion for a period of time, long enough to make Sister Angela wonder if he'd been captured, killed...or worse. And in the second encounter with the invading forces, during which time Allison's presence is detected, and he's forced to take drastic measures, in an effort to secure his evasion, and at the same time, still manage to procure the emergent supplies needed to help his ailing companion, back at the caves...
...the fine folks at Twilight Time, here affording "Heaven Knows Mr. Allison" a mere 2000-pressing release, have acquired a very respectable 2:35:1 ratio'd print of this engaging and romantic wartime drama...not perfect, mind you, but exceptional, nonetheless. There's a minimal, barely noticeable amount of picture 'softness' and color wash-out, throughout, with color tones, themselves...especially skin tones...changing readily and inexplicably, throughout the film. But again, in the long run, these faults are minimal...even negligible...and hardly distracting...
...an absolute classic, in every sense of the word...with incomparable direction, extraordinary performances, and a captivatingly melodramatic storyline, accented with a generous amount of tension & suspense...and just the right smidgen of poignancy, irony and humor. One not to be missed.....
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