In the spring of 1950 Hans Keller saw The Cure for Love and expressed himself in the pugnacious manner for which he was notorious:

Keller's criticism was indicative of the stigma to which Alwyn was becoming increasingly sensitive. And like any such criticism it ignored the cultural context of the film medium.

Robert Donat had long dreamt of bringing Walter Greenwood's play about Lancastrian life, The Cure for Love, to the screen. Rank, trying to reduce his debts by pleasing both British and American box-offices, was uninterested in a narrative of a local character and dialect, and in the end Korda came up with the finance. Donat's co-director was Alwyn's old friend Alexander Shaw, on his first feature film, which probably explains Alwyn's commission. Shaw collaborated with Donat, Greenwood, and Arthur Fennell on the screenplay, about the soldier Jack Hardacre (Donat) who returns from the wars to his small Lancashire hometown and the brassy embrace of his fiancee Janey Jenkins (Dora Bryan). Hardacre falls in love with a charming London girl, Milly Southern (Renee Asherson) who has been billeted on his home, and he is faced with casting off the unwanted Janey and prising Milly from the attentions of a local romeo, Sam Balcome (John Stratton). Several of the actors were repeating their stage roles, and the production is theatrical. Despite this, the film has warmth and charm, is funny and often tender: it is a naive painting rather than an Old Master.

Alwyn's contribution must be considered with that idiom in mind: Northern, farcical, warm and sentimental. There is one major motif, the love motif: for Milly alone and for Milly and Jack together.