Rags-to-riches Hennessey meets newlyweds Jessie and Eddie from his old neighborhood. Eddie plots to have Jessie divorce him, marry Hennessey, divorce Hennessey, then bring Hennessey's money...
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Susan Trexel is a wealthy socialite, who while vacationing in Europe undergoes a religious transformation. On her return to America, Susan takes on the task of spreading her new found ... See full summary »
Wealthy socialite Letty Lynton is returning to New York, abandoning one-tine lover Emile Renaul in South America, when she strikes up a shipboard romance with Jerry Darrow. Renault is ... See full summary »
Rags-to-riches Hennessey meets newlyweds Jessie and Eddie from his old neighborhood. Eddie plots to have Jessie divorce him, marry Hennessey, divorce Hennessey, then bring Hennessey's money into remarriage with Eddie. His plan goes awry at several points. Written by
Ed Stephan <email@example.com>
This film received its initial telecasts Monday 14 January 1957 in Philadelphia on WFIL (Channel 6) and Tuesday 15 January 1957 in Los Angeles on KTTV (Channel 11); in Chicago it first aired 27 March 1957 on WBBM (Channel 2) and in Minneapolis 2 April 1957 on KMGM (Channel 9); its San Francisco television premiere occurred 2 May 1960 on KGO (Channel 7) and it was first telecast in New York City 3 September 1960 on WCBS (Channel 2). See more »
This is a modest film, beautifully proportioned and modulated, that manages to draw the viewer into its romantic world. It easily could have become maudlin, or stridently melodramatic, or overblown. Joan Crawford could have overacted, or Spencer Tracy could have turned smug. But the film is amazingly free of false notes. This is not a film to be seen for camp , but for its very real charm. Director Frank Borzage succeeds in creating a world that is feels completely consistent and free of cliche. Take for example, the scene in which the heroine is on the dance floor with her new husband, singing "their song"--easily a cliched moment. But while she croons, the husband is tense, alert, observant, distant. Or look at the scene where Tracy meets with his striking workers, and faces the loss of his business and fortune. The scene unfolds with a quiet dignity and depth of feeling on both sides of the conflict. Again and again, Borzage balances romance with realism, pathos with stillness, emotion with dignity. As a result, Mannequin is a deftly made film that moves along lyrically, making what could have been preposterous, touching.
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