Whether or not one should feel concern for Nickie's state of mind is important here, because director and co-writer Leo McCarey seems to have much more on his mind here than a simple romantic soufflé. The first half of the film takes place almost entirely on the ocean liner, and it's here that the film is at its best. Although both Nickie and Terry have significant others waiting for them on the pier in New York, they can't stop from engaging in some sharp romantic badinage, setting the tongues wagging among their entertainment-starved shipmates. The first sign that the film is moving into different territory, though, is when Nickie goes ashore in France to visit his grandmother and brings Terry along. It's a lengthy and overplayed sequence at a sleepy villa in which Terry, who had previously felt impervious to Nickie's attempts at pitching woo, gets a window into his soul via the grandmother and so falls for him. McCarey also introduces an overtly religious theme here (having Terry and Nickie pray briefly in the chapel) that will come back later in an even more heavy-handed fashion.
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