Three of the four musically inclined daughters of Adam Lemp, the Dean of the Briarwood Music Foundation, are settling into their lives as wives, but not all is well. Thea Lemp has long ...
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Adam Lemp, the Dean of the Briarwood Music Foundation, has passed on his love of music to his four early adult daughters - Thea, Emma, Kay and Ann - who live with him and his sister, the ... See full summary »
Nan Masters, a single mother living with her four marriageable daughters, plans to marry Sam Sloane, businessman. Out of the blue her 1st husband Jim returns after deserting the family 20 ... See full summary »
Adam Lemp and his four daughters (Ann, Thea, Kay, and Emma) find themselves in financial and emotional crises. Thea's husband Ben has promoted a Florida housing development to everyone in ... See full summary »
Three of the four musically inclined daughters of Adam Lemp, the Dean of the Briarwood Music Foundation, are settling into their lives as wives, but not all is well. Thea Lemp has long since married wealthy banker, Ben Crowley. Thea makes a unilateral decision which may disrupt their marriage. Emma Lemp married their neighbor, florist Ernest Talbot, after realizing that she truly did love him and not their border, composer/conductor Felix Deitz, after Ernest's actions at what was supposed to be Felix and Emma's youngest sister Ann Lemp's wedding. Emma receives some sad news which too may place a pall over her and Ernest's marriage. And Ann, after the suicide death of her husband Mickey Borden who she married as his possible salvation, and Felix are once again engaged, he who she always truly loved. But the memory of Mickey, who was an acquaintance of Felix's, may be a major roadblock on the road to happiness for Ann and Felix, especially as Mickey leaves something a little unexpected ... Written by
Max Steiner's "Symphonie Moderne", written for the movie, was later expanded and published in 1941. See more »
Anne is already pregnant at Christmas time. The baby comes well after Father's Day (June), probably July or even later and there is no attempt to make her look pregnant - not even maternity-type clothes. She continues wearing skirts and tucked-in blouses, remaining thin through the entire picture. She's even wheeled into the Delivery Room with her stomach looking as flat as a board. See more »
I like this family overall. It's a rich blend of some vital elements. In this particular series, as with others, the savor seems to diminish a little as it goes along. But, with that, the core group is always there and I find it a winner. The first is the best, this one weakens with script, and the last one has a real problem script-wise. While some are impressed with the portrayal of Ann as the disturbed widow and reluctant fiancé, I find that a rewrite of history from the initial film. I wanted Ann to throw that junk off and get with it. Jeffrey Lynn's character should have gotten a purple heart for long suffering in this one. It's a reversal of what they had going. In the first film, Ann was realistic as the overly sympathetic young woman who went so far as to marry a guy who needed her, when the one she really loved was seemingly not available to her. Okay, all that got fixed and fixed well. This film seems to moot the turnaround, and we find her more focused on her unsatisfactory dead husband and pushing away the true love who is readily available to her now. Yes, she does find she is carrying the first husband's child, and becomes emotionally vulnerable in her memory of him. That can happen, but it just wore on me. However, I still valued the film because of the winning ensemble and overall premise.
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