If you asked just about any American girl in 1939 to describe her fantasy of “happily every after,” the odds are good that Tyrone Power played a starring role in those daydreams.
He was, as Hollywood reporter Ruth Waterbury gushed, “more than any other man on the screen, the true Prince Charming.”
Which is why Gregory Ratoff’s Day-Time Wife, in its own humble way, strikes me as subversive—scandalous even. It dared to suggest that life with such an outwardly perfect man might not turn out to be so happy after all.
In retrospect, when we think of Tyrone Power rebelling against his studio-endorsed pretty boy image, a number of courageous performances come to mind: the sensitive, disillusioned seeker of The Razor’s Edge, the pathologically selfish carny of Nightmare Alley, and the duplicitous husband of Witness for the Prosecution, to name only a few.
While Day-Time Wife
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