This film looks great, and that's about where my praise ends. "Love Is a Many Splendored Thing" came out in the very schizophrenic year of 1955, when candy-coloured nonsense like this co-existed with trail-blazing artistic fair like "Kiss Me Deadly." As a trend toward smaller, socially conscious films like "On the Waterfront" and "Marty" established itself in the mid-50's, other directors felt the need to stick with the unchallenging, pandering melodrama that classifies so many other films from that decade, and "Love" is one of the latter.<br /><br />This is the kind of 50's movie where the Technicolor is used to its garish utmost and the lighting is invariably high-key; even scenes taking place in a dark room or at night are brighter than the average sunny day. I never want to hear the theme song again, as it's played frequently enough over the course of the film to last anyone a lifetime, and I certainly don't want to hear it sung by the shrill, ear-piercing choir that belts it out over the end titles. Jennifer Jones and William Holden are passable, but really anybody could have played these parts. Jones' role is horribly written--her character is incredibly inconsistent, and it seems as if whenever her character is required to make a decision about something, the screenwriters flipped a coin to decide what that decision would be.<br /><br />People will undoubtedly tell me I'm taking this film too seriously, that I'm unromantic, etc. But I loved "All That Heaven Allows," released the same year and just as cornball in its own way, except that Douglas Sirk is able to turn melodrama into an art form, whereas Henry King (director of "Love") is not.<br /><br />I'm usually able to enjoy bad melodrama, but in this case I was just bored.<br /><br />Grade: D+