Selina lived well until her father Simeon died. Her aunts sold the estate and put her in a boarding school. As an adult she wants to be a teacher in farming country. She falls in love with ...
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Zachary Hicks is nominated at the Progressive party's convention even though he has little chance of winning the governorship. Kay suggests the party bosses hire Hal Blake (whom she loves) ... See full summary »
Butch Saunders has been transferred to Missing Persons because he was too brutal in other police work. He regards the assignment as "kindergarten" work. When a young woman asks him to help ... See full summary »
Selina lived well until her father Simeon died. Her aunts sold the estate and put her in a boarding school. As an adult she wants to be a teacher in farming country. She falls in love with and marries Pervus, a Dutch farmer she has been tutoring. When he dies her hopes lie with their son Dirk, who disappoints her by giving up architecture for stock brokerage. Her new hope is Roelfe, the son of her former boardinghouse keeper and a sculptor. Dirk falls in love with Dallas O'Mara, whom Selina hopes will be the inspiration for her son's salvation. Written by
Ed Stephan <email@example.com>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on March 13, 1939 with Barbara Stanwyck reprising her film role. See more »
Dirk De Jong:
Must a man be an artist to interst you?
Miss Dallas O'Mara:
Good Lord, no! I'll probably marry some horny-handed son of toil, and if I do, the horny hands'll win me. I like them with their scars on them. There's something about a man who has fought for it: the look in his eye, the feel of his hands. You haven't a mark on you, Dirk, not a mark. You gave up being an architect because it was an uphill, disheartening job at the time. I don't say you should have kept on. For all I know, you were a terrible architect. ...
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Showcase for Barbara Stanwyck who gracefully ages from a young woman to a mother in her late 40s. Barbara stands for hard work (on the farm) and the recognition of beauty in life (even cabbages are beautiful). Her understated portrayal shines as one of her best works. Story of her son, (who Barbara said was "So Big" with hands spread wide apart) is that of a privileged offspring who ignores his mother's advice and takes the easy way to money, ignoring the beauty in creativity, and hides his mother's career from society ladies. When he finally meets a good woman (a good Bette Davis) who appreciates someone with "bumps," he reveals his past but it is not bumpy enough to impress her. Instead Bette goes off to Paris and meets with celebrated sculptor George Brent who as a boy had lived with and loved the older Barbara. Interesting portrayal of two contemporary actresses with one playing the part of a woman old enough to be the other's mother and neither obviously updating the other. Good messages, good role models, with Barbara staying down on the farm as a success without having taken the easy road. A quiet gem to inspire depression-era audiences.
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