I had no expectations for this movie before I saw it, expect a high regard for Gary Cooper and director King Vidor, and neither disappointed me in this nice effort from them.<br /><br />As mentioned before, this story concerns married writer Gary Cooper --one not unlike F. Scott Fitzgerald -- who has lost his groove, and had his latest novel rejected by his publisher. He is forced to give up his Manhattan apartment and move back to the abandoned family homestead in Connecticut. There he meets a community of Polish immigrants, and slowly falls in love with beautiful young Polish girl Anna Sten, who he had hired to help around the house.<br /><br />My first thought about this movie as I watched it, was that the leading man was more beautiful than the leading lady, as Gary Cooper certainly looked fabulous and was photographed with great sensitivity. Cooper in his modern American clothes certainly had the upper hand over Sten, who was always wearing dowdy traditional Eastern European dresses and hats. She was almost completely covered up in these costumes for the duration, and it would have been a treat to see her in American garb.<br /><br />The speed that Cooper's character falls in love with the young girl is questionable, especially considering he has a beautiful, funny and intelligent wife played by Helen Vinson. Perhaps it's the Polish girl's youth and innocence he's attracted to, but I think he's not as heroic as the movie-makers intend him to be. The wife does leave him alone in snowy New England to work on his novel, but he needn't stab her in the back by falling in love with another. Cooper's character comes off somewhat of a cad, and I never was able to sympathize with him enough to make me really care about his final happiness.<br /><br />The movie paints the wife as a shallow but glamorous socialite, caring only for the next party of get-away weekend at his expense. But at about two-thirds into the movie and after she has read his manuscript, she has a strong and wonderful scene with Sten where she discusses the hypothetical endings for the novel. Vinson really shines in this scene, which includes one incredibly long take with at least three pages of dialog. I thought both Vinson and the often-maligned Sten made it all work very nicely. This was the moment when you can see the strength under the airy facade, of Vinson's character.<br /><br />The movie takes a very dark turn partway through, and some of the scenes really rise to the level of verbal and physical abuse, something I hadn't expected to see. But the production values are great, Greg Toland's camera work shines, and the locations and sets are really convincing.<br /><br />But what somewhat bothered me in its intensity were these two scenes with Sten and her family. How brutal is the scene where her father and Ralph Bellamy want her to watch Bellamy slaughter pigs? I mean she said about 5 times that it makes her sick, and they kept insisting. And then finally after she runs off -- she and the audience get to hear the sound effect of pigs squealing as they're being butchered. Didn't expect this movie to go there...<br /><br />And then when her father, who was introduced as an amiable figure, gets so angry at Sten that he slaps her face with such intensity. Seemed pretty violent by today's standards...<br /><br />Finally, I admire and still wonder about the ambiguous ending. Obviously, the Polish girl has died. Vinson is standing next to Cooper as he gazes out the window. She speaks to him and then he remembers aloud how Sten would look coming up to the house. He sees her in his imagination. The camera pulls back, and now Vinson is no longer in the room or the scene. Did she leave him after all? Did she decide she didn't want to stay with a man who had such a love for another woman?