Cast & Crew
One night in New York, Alan Miller, a member of Alcoholics Anonymous, appears at a Times Square hotel, having been summoned by Billy, the elevator operator. Alan is surprised to discover that the person he is to help is a woman, as he is usually sent to aid men. The intoxicated woman, actress Jenny Carey, is equally unnerved to see Alan and almost sends him away. By describing an exotic cocktail he wants to order, Alan, a recently recovered alcoholic, tricks Jenny into going to a restaurant with him and eating dinner. When Jenny sobers up, she realizes that she has missed her second rehearsal in a row but cannot explain to Alan why she drinks. The next morning, Alan tells his understanding wife Edna a little bit about Jenny, and she admits that she still worries about his drinking. At the advertising agency where he works as a copywriter, Alan then learns from his boss, Crawley, that his idea for a Bahamas ad campaign has been rejected in favor of his rival Baker's more romantic approach. Concerned about Alan's state of mind, Crawley questions him, but Alan insists he is fine. Jenny, meanwhile, goes to the theater for a rehearsal, but finds that another actress has taken over her part. Unaware that Alan has tried to reach her at her hotel and gone out to lunch, Jenny, distraught, attempts to call him. At the restaurant, Alan again tries to call Jenny, but just misses her. Disconsolate, Alan sits at the bar and, surrounded by alcohol, gives in and orders a cocktail. Before the drink arrives, Jenny walks in and spots him. After she confesses that she is struggling with her need to drink, the bartender serves Alan his cocktail, and Jenny runs out, angry. Alan follows her into a deserted theater and says that he, too, is battling temptation. Alan then reveals that he is married, with two children, and Jenny describes her self-destructive romance with Tony Collins, the theatrical director who launched her acting career. Back at her hotel, Alan and Jenny admit that they need each other and kiss. Later, Alan learns that he has been assigned a new shoe account and looks forward to the challenge. Jenny then calls to report that she has a new acting job and asks Alan to meet her in the Egyptian room at the museum. There, Alan helps Jenny rehearse a love scene from The Egyptians , the play in which she has been cast. After they kiss, Alan's son suddenly appears with his grade school class. Alan makes excuses for his presence, and that night at dinner, tells Edna that he went to the museum to do some sketching for work. Edna, who has revealed that she is pregnant, senses Alan's unease but cannot get him to talk. She then finds pages of Jenny's script in his coat pocket, which Alan claims are part of a new Egyptian-themed ad campaign. Later, Alan and Edna attend a party hosted by Baker, and Alan is startled to see Jenny. After Baker explains that he invited Jenny hoping to lure Tony to the party, Alan grabs two plates of food and suggests that he and Jenny eat together. Once alone, Alan asks Jenny why she has been avoiding him, and she admits that seeing his son in the museum disturbed her. Edna, who has been keeping her eye on Alan from a neighboring table, watches with curiosity when Tony arrives and sits next to Jenny. The egotistical, jealous Tony teases Jenny and Alan for not drinking and makes cruel remarks about Jenny's acting. After telling Tony that he knows nothing about love, Jenny leaves, near tears. In the cab home, Edna quietly remarks to Alan that Jenny appears to be a girl who could be easily hurt. Later that night, Jenny lies in her hotel bed as her telephone rings and rings. When Billy enters, worried, she instructs him to answer the phone and tell Alan that she is fine and sober. Sometime later, Alan and Baker present their respective ideas for the shoe campaign, and Alan's is chosen. Despite his victory, Alan is depressed and calls Jenny's hotel. Billy tells him that Jenny is leaving that night for the play's out-of-town tryouts, and Alan goes to the train station to meet her. Although glad to see Alan, Jenny is distant, and they part on uncertain terms. Weeks later, Alan suffers through the office Christmas party, distracted by thoughts of Jenny, whose play is opening on Broadway that night. When he finally comes home, Edna demands to know what is troubling him, but he continues to insist that all is well. Just as Edna gets the idea to take Alan to see The Egyptians , Billy calls to report that Jenny has locked herself in her room. Alan rushes to the hotel and discovers Jenny passed out on the bed. After rousing her, he kisses her and cajoles her to admit that she loves him, as he loves her. He then declares that despite everything, they must find strength in their feelings, not sorrow. Bolstered by Alan's words, Jenny takes a cold shower and arrives at the theater moments before curtain call. Alan joins Edna in the audience, and Edna soon hears Jenny utter the lines from the script pages in Alan's coat pocket. Now fully aware, a forgiving Edna whispers to Alan that she once wanted to be an actress, but chose to be a wife and mother instead.
Robert R. Cornthwaite
Joseph J. Greene
James E. Moss
Anne M. Kunde
Marcel De La Brosse
James W. Horne
Suzanne M. Casey
Barbara Ann Knudson
Bob St. Angelo
Ivan H. Browning
Teresa Wright (1918-2005)
She was born Muriel Teresa Wright in New York City on October 27, 1918. She showed a keen interest in acting in grade school, and by the time she was 19, she made her Broadway debut in Thorton Wilder's Our Town (1938); the following year she scored a hit as Mary, the weeping ingénue in Life with Father (1939). The word was out that New York had a superb young acting talent on hand, and Samuel Goldwyn soon brought her to Hollywood for William Wyler's adaptation of Lillian Hellman's The Little Foxes (1941). She scored an Oscar® nomination for her film debut as Regina Giddens' (Bette Davis), honorable daughter, Alexandria.
She maintained her amazing momentum by scoring two Oscar® nominations the following year for her next two films: as Carol Miniver in Wyler's Mrs. Miniver (Best Supporting Actress Category), and as Lou Gehrig's (Gary Cooper) faithful wife Ellie in Pride of the Yankees (Best Actress Category), and won the Oscar for Miniver. Yet for most fans of Wright's work, her finest hour remains her perfectly modulated performance as young Charlie in Alfred Hitchcock's masterpiece, Shadow of a Doubt (1943). Wright's performance as the self-effacing, impressionable young niece who gradually realizes that her beloved uncle (Joseph Cotton) may have murdered several widows is effective since Wright's air of observation, subtly turns from idol gazing, to a watchful air of caution as the facts slowly being to unravel. 60 years on, fans of Hitchcock still acclaim Wright's performance as an integral part of the film's classic status.
She proved her talents in comedy with the delightful Casanova Brown (1944), but then saw her schedule slow down due to domesticity. After she married screenwriter Niven Busch in 1942, she gave birth to son, Niven Jr., in 1944, and took two years off to look after her family. She soon returned to film with another Wyler project, the Oscar®-winning, post war drama, The Best Years of Our Lives (1946), playing Fredric March's level-headed daughter, Peggy, she again took some time off after giving birth to her daughter, Mary in 1947. On her second attempt to return to the big screen, Wright found her popularity on the wane. Her wholesome image was in sharp contrast of the tougher, more modern women in post-war Hollywood, and her stubborn refusal to pose for any swimsuit or cheesecake photos to alter her image led to her release from Sam Goldwyn's contract.
As a freelance actress, Wright still found some good roles, notably as a young widow in the thriller scripted by her husband, in The Capture; and as a faithful fiancée trying to help Marlin Brandon deal with his amputation in Stanley Kramer's The Men (both 1950). Yet within a few years, she was playing middle-aged mothers in film like The Actress (1953), and The Track of the Cat (1954), even though she was still in her early '30s. By the mid-50s she found work in live television, where she could apply her stage training, in a number of acclaimed shows: Playhouse 90, General Electric Theater, Four Star Playhouse, and The United States Steel Hour.
She took a break from acting when she married her second husband, the playwright Robert Anderson in 1959, (she had divorced her first husband, Busch, in 1952) and was out of the public eye for several decades, save for an isolated theater appearance. When she did return, it was intermittent, but she was always worth watching. In James Ivory's Roseland (1977), a portrait of the New York dancehall; she was poignant as a talkative widow obsessed with her late husband; and as an enigmatic old actress in Somewhere in Time, she nearly stole the picture from leads, Christopher Reeve and Jayne Seymour. She was still active in the '90s, appearing a few hit shows: Murder, She Wrote, Picket Fences; and a final film role in John Grisham's The Rainmaker (1997). She is survived by her son, Niven; daughter, Mary; and two grandchildren.
by Michael T. Toole
Teresa Wright (1918-2005)
The working title of this film was Mr. and Miss Anonymous. Some reviewers commented on the similarity between Ray Milland's role in this film and his Academy Award-winning part in Paramount's 1945 release The Lost Weekend (see AFI Catalog of Feature Films, 1941-50) In The Lost Weekend, Milland portrayed a down-and-out alcoholic on the verge of recovery. According to modern sources, screenwriter Dwight Taylor based the character "Jenny Carey" on his mother, actress Laurette Taylor. Like Jenny, Laurette Taylor suffered from alcoholism and stopped acting for years at a time. A longtime friend of director-producer George Stevens' uncle Ashton Stevens, a theater critic, she made her stage comeback in 1945 playing the mother in Tennessee Williams' The Glass Menagerie. Unlike Jenny, Taylor never joined Alcoholics Anonymous. Something to Live For marked the first time that the work of Alcoholics Anonymous was featured in a film story.
Hollywood Reporter news items add the following actors to the cast: Tommy Summers, Jimmy Cornell, Billy Wilkerson, Franklyn Farnum, Michael Butler, Gordon Barber, Jimmy Karath, Dennis Stevens, Carol Issennuth, Kathy Johnson, Ellis Monig, Gus Taillon, Bryn Davis, Nick Borgani, William Gentry, Geraldine Knapp, Arlyn E. Loynd, Gerald Lee, Charlotte Fortney, Florence Busby, Dorothy Vernon, Sarah Weissman, Sushila Janades, Fay Holderness, Betty May, Pauline High, Ruth Barnell, Glen Walter, Paul King, Phyllis Brunner, Mildred Brown, Ed O'Neill and Eric Wilton. A Par News item announced that the following stand-ins would be cast in roles in the picture: Marjorie Dillon, Charles Van and Frank Meservey. The appearance of all of these actors in the final film has not been confirmed.