In several movies, the male lead ends up with the woman that the writer or director - or more likely the production code - thought he should be with, but sometimes, another women in the movie - who was only supposed to be a foil for the female lead - turns out, in my opinion, being the woman you want the male lead to end up with. I'll kick this off with two examples (spoiler alert - if you haven't seen these movies and care about the plot, don't read on). In "Gentleman's Agreement" Gregory Peck's character dates Dorothy McGuire's character though out and, despite some ups and downs, winds up with her. She is "right" for him, in that she is young and classically pretty, comes from a good background, wants to have a home and children and has a conventional morality that, basically, survives the challenge at the heart of the story. However, along the way, Peck's character meets Celeste Holm's character and you can feel the spark, but she is (maybe) older than he is, a world-wise career woman, a New Yorker, a bit cynical and quirky attractive - not the right woman for Peck's very upstanding character. But she is. The two of them can understand each other by exchanging a glance without words. Their strengths and weaknesses compliment each other and they have chemistry. You can see why the conventional thinking (the production code) or guardrails of 1940s' movies didn't let these two get together, but I've always felt they would have made a better couple and have a better future. I'm always disappointed when they don't end up together. The same type of scenario plays out in "The Lost Weekend." Here, Ray Miland's intemperate character dates the "good" woman played by Jane Wyman who has all the nurturing and caring traits of the 1940s' idealized woman and, in the end, he winds up with her. But along the way, Miland's character interacts with Doris Dowling's character - a street-wise (maybe prostitute) who completely gets the joke, knows the seedy side of life and has a passion for Miland's character that is powerfully obvious in their few scenes together. He feels natural with her - not stilted as he does with Wyman's character. Once again, I'm always disappointed when he wind up with Jane Wyman's character and not Dowling's as that seems like the woman he would have a real relationship with. I have a few more, but will add them later if this string builds out at all. Do others have examples?