The voices of all the actors were perfect and while the Joe Bradley character was a bit more selfish than I recall of Gregory Peck, the transformation from self-serving newsman to heartstring-tugged gentleman was touching and believable, a not-easy task (in my mind) when faced with the pace of the dialogue and the more saccharine of Porter’s songs.
Porter, of course, was a genius. He summated seemingly complicated emotions into the black and white (the Night and Day, as it were) of “I want to be with you, only you, forever” and gave it a lilt with a turn of phrase that kept the romance of that complication. All the tumbling, fussy emotions of new attachment were always tied up into lyrics that captured exactly the intensity of that messy, exhilarating feeling (without tripping over themselves the way we bloggers tend to do when trying to describe in words what Porter did in melody). Night and Day has always been one of my favorites of Porter’s, for just that reason. Because, at its simplest, love is about wanting to experience every inch of the day and night in the company of another, specific soul; finding someone to share the adventures and the disasters in equal part.
The story ends, of course, with a bittersweet tone. No forever-type commitment. No “I love you”s exchanged. A final glance, a “thank you” for an adventure well-spent, and the continuation of separate lives. As relationship endings go, however, that has to be one of the best. And despite the inability of these two lovers to fit snugly into one another’s lives, the audience does get the sense that each has been effectively shaken and inspired enough to demand some flavor of that adventure in future loves. And I think most people can relate to that moment of realization that love doesn’t work without being buddies. And gelato and trips to Rome help, too.
