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Cbs Sunday Movie What Love Sees

CBS Sunday Movie What Love Sees (Sun. (22), 9-11 p.m., CBS) Filmed in San Diego by Rosemont Productions International, Ltd. Executive producer, David A. Rosemont; producer, Nicholas Batchelor; co-producers, Richard Thomas, Robert L. Freedman; director, Michael Switzer; writer, Robert L. Freedman; based on the book by Susan Vreeland; camera, Robert Draper; editor, Mark W. Rosenbaum; production designer, David Ensley; sound, Donna Beltz; music, Allyn Ferguson; casting, Penny Ellers. Cast: Richard Thomas, Annabeth Gish, Edward Herrmann, Kathleen Noone, August Schellenberg, Romy Rosemont, Trever O'Brien, Courtland Mead, Ashlee Lauren, Cody McMains, Fran Bennett, Ann Walker, Joe Bays, Jana Arnold, Tim Halligan, Jeannette O'Connor, Sandra Lafferty, Doug McGrath, Todd Babcock, Greg Longstreet, Jean Kaufman, Carolyn Kimball, Hugh Gillin, Vicki Walker, Sue Casey, David Schall, Denyn Pysz. Portraying a blind couple living on a ranch, Richard Thomas and Annabeth Gish avoid using any artificial sweeteners in this tender made-for. True story is genuinely inspiring yet in the hands of lesser actors could easily have congealed into a maudlin confection. Director Michael Switzer moves the drama along, lingering only to underscore earned sentiments. Gish and Thomas make it a viable love story by generating a surplus of sexuality. (Her character's seeing eye dog has to be tranquilized when the two are about to make love.) Extra kudos to Gish, since her role fails to develop beyond a certain point. In addition to getting good work from his leads, Switzer shines during early sequences when letters, read to principals or heard in voice over, propel the action. Telepic opens in 1941 in Connecticut, where Jean Treadway (Gish), lives a sheltered existence with her wealthy family. She corresponds with a financially strapped rancher from California, Gordon Holly (Thomas), and romance blossoms. Jean's stuffy father (Edward Herrmann) won't let her make a visit out West but Gordon turns up one day and returns to his small homestead with a bride and her canine companion. The indomitable couple readily overcome basic challenges. Gordon starts a successful building company and they construct their own a house on a hill. Raising a brood of four brings another set of tensions and crises. Hurdles could be more formidable but Robert L. Freedman's frank script has a satisfying symmetry dealing with courage. Syrupy patches are minimal and can be attributed to period dialogue and Gordon's corny sense of humor. Only one major false note is struck with a Biblical quotation at the end. Conflict in the third act is resolved rather rapidly; with no time for implications to play out, ending seems abrupt. A visit from Jean's family is a logical but disappointing omission. Hermann's caricature of a stern Yankee capitalist is enjoyable because the actor is given lines attacking his professional alter ego, FDR. Kathleen Noone and Romy Rosemont ably round out the Treadway family. Production is handsome and always of the period. Allyn Ferguson's modest and melodious score serves the strong emotions. Lenser Robert Draper uses some varied outdoor shots, while soft focus indoor photography might be a reference to the severe myopia that afflicted Jean and led to her blindness. John P. McCarthy

CBS Sunday Movie What Love Sees (Sun. (22), 9-11 p.m., CBS) Filmed in San Diego by Rosemont Productions International, Ltd. Executive producer, David A. Rosemont; producer, Nicholas Batchelor; co-producers, Richard Thomas, Robert L. Freedman; director, Michael Switzer; writer, Robert L. Freedman; based on the book by Susan Vreeland; camera, Robert Draper; editor, Mark W. Rosenbaum; production designer, David Ensley; sound, Donna Beltz; music, Allyn Ferguson; casting, Penny Ellers. Cast: Richard Thomas, Annabeth Gish, Edward Herrmann, Kathleen Noone, August Schellenberg, Romy Rosemont, Trever O’Brien, Courtland Mead, Ashlee Lauren, Cody McMains, Fran Bennett, Ann Walker, Joe Bays, Jana Arnold, Tim Halligan, Jeannette O’Connor, Sandra Lafferty, Doug McGrath, Todd Babcock, Greg Longstreet, Jean Kaufman, Carolyn Kimball, Hugh Gillin, Vicki Walker, Sue Casey, David Schall, Denyn Pysz. Portraying a blind couple living on a ranch, Richard Thomas and Annabeth Gish avoid using any artificial sweeteners in this tender made-for. True story is genuinely inspiring yet in the hands of lesser actors could easily have congealed into a maudlin confection. Director Michael Switzer moves the drama along, lingering only to underscore earned sentiments. Gish and Thomas make it a viable love story by generating a surplus of sexuality. (Her character’s seeing eye dog has to be tranquilized when the two are about to make love.) Extra kudos to Gish, since her role fails to develop beyond a certain point. In addition to getting good work from his leads, Switzer shines during early sequences when letters, read to principals or heard in voice over, propel the action. Telepic opens in 1941 in Connecticut, where Jean Treadway (Gish), lives a sheltered existence with her wealthy family. She corresponds with a financially strapped rancher from California, Gordon Holly (Thomas), and romance blossoms. Jean’s stuffy father (Edward Herrmann) won’t let her make a visit out West but Gordon turns up one day and returns to his small homestead with a bride and her canine companion. The indomitable couple readily overcome basic challenges. Gordon starts a successful building company and they construct their own a house on a hill. Raising a brood of four brings another set of tensions and crises. Hurdles could be more formidable but Robert L. Freedman’s frank script has a satisfying symmetry dealing with courage. Syrupy patches are minimal and can be attributed to period dialogue and Gordon’s corny sense of humor. Only one major false note is struck with a Biblical quotation at the end. Conflict in the third act is resolved rather rapidly; with no time for implications to play out, ending seems abrupt. A visit from Jean’s family is a logical but disappointing omission. Hermann’s caricature of a stern Yankee capitalist is enjoyable because the actor is given lines attacking his professional alter ego, FDR. Kathleen Noone and Romy Rosemont ably round out the Treadway family. Production is handsome and always of the period. Allyn Ferguson’s modest and melodious score serves the strong emotions. Lenser Robert Draper uses some varied outdoor shots, while soft focus indoor photography might be a reference to the severe myopia that afflicted Jean and led to her blindness. John P. McCarthy

Cbs Sunday Movie What Love Sees

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