There have been a spate of London police murders, the victims always killed by a long knife (which the police know is a sword cane), the murders always taking place in a deserted but ... See full summary »
Mary, a writer working on a novel about a love triangle, is attracted to her publisher. Her suitor Jimmy is determined to break them up; he introduces Mary to the publisher's wife without ... See full summary »
Socially-conscious banker Thomas Dickson faces a crisis when his protégé is wrongly accused for robbing the bank, gossip of the robbery starts a bank run, and evidence suggests Dickson's wife had an affair...all in the same day.
Jim's father wants to marry Eugenia, but her sister Netta refuses to allow it. When Jim sees Ann at a club, he falls for her even though she is with Lord Priory. He meets her the next day ... See full summary »
Robert Z. Leonard
Naval commander Charles Sturm has made life miserable for his wife Diana due to his insane jealousy over every man she speaks to. His obsessive behavior soon drives her to the arms of a ... See full summary »
Marge is a capable secretary, but her bosses are more interested in her than her abilities. This causes her to be frequently unemployed. To get a job, she changes her look to make herself ... See full summary »
This film was first telecast in Philadelphia Monday 7 October 1957 on WFIL (Channel 6); in San Francisco it found itself in the unhappy situation of being broadcast on the morning of 22 November 1963 on KGO (Channel 7), repeatedly, and sadly but understandably, interrupted by the latest news updates from Dallas. In New York City and Los Angeles this title would have been included in the MGM film library then under the control of WCBS (Channel 2) and KTTV (Channel 11), respectively, but there is no reliable documentation that it was ever televised at this time in either of these major markets, most likely because of sponsors resistance to its age and the severely pre-code aspects of its basic story. See more »
[on the telephone]
But Carol, this bank is your guardian. We're living in 1932, but you persist in spending money as if it were still '29, before the crash. You've forced me to eliminate your charities - even your father's most beloved project - the Morgan Home for Girls.
[lounging on her silk sheets]
Fine. I don't believe in delinquent girls - silly weaklings.
But our records show that twenty-nine percent of them went on the street because they didn't have a bed to sleep in.
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FAITHLESS is neither a great classic nor an artistic masterpiece nor even a very original story. In simple, straightforward fashion it tracks the downfall of a spoiled heiress (Tallulah Bankhead) ruined by the Depression who struggles between love for an ad executive (Robert Montgomery) and addiction to the high life which she can no longer afford. For a while she manages to sponge off old friends from her social circle but is rejected when it becomes clear to them that she is hopelessly broke. And down and down she goes. Her personal fate parallels that of the economy from the hedonistic roaring 20's to the sober, desperate 30's. The movie even opens with a series of newspaper headlines tracking the progress of the economic downturn from late '29 until '32 when this plot goes into action.
The chief attraction is Bankhead, who made few films, most of them abysmal. This was one of the good ones. She is coiffed and made up to look like Garbo in GRAND HOTEL. The result is certainly striking from the neck up, though she looks a bit dumpy and ill-at-ease in some of Adrian's more extravagant gowns. No matter. With her distinctive voice, vivid personality, physical agility and polished theatrical diction, she never fails to delight or at least intrigue the viewer and this scenario gives her opportunities to explore a wide range of emotional states. There is nothing original about the fallen woman story, but Tallulah is a true original. She is in particularly fine form delivering witty banter, as in a scene in which she converses with Montgomery's brother (Maurice Murphy), who introduces himself as a metallurgist ("What kind of metal do you urge?") Lines like that roll off Bankhead's tongue with effortless aplomb. Montgomery is his usual spiffy self, delivering a competent, honest performance.
The strains of "St. Louis Blues" rise from the soundtrack as Bankhead contemplates prostitution as a way to get money. That melody was so often used as cinematic code for "prostitute" that someone should take a count.
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