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 »
Ruby falls in love with small-time con man Eddie. During a botched blackmail scheme, Eddie accidentally kills the man they were setting up. Eddie takes off and Ruby is sent to a reformatory for two years.
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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 religious experience with her closest friends - only to drive them crazy. Meanwhile, her husband Barrie, and daughter Blossom yearn for a stable family life. Barrie will even become sober, hoping that Susan will heed her own advice, and save their marriage and family. Written by
The play originally opened on 10 April 1937 in Princeton, New Jersey, and moved to New York City, New York on 7 October 1937 where it ran for 288 performances. Gertrude Lawrence played the role of Susan. See more »
When Irene sends the men out of the room before Barrie comes in, she takes a cigarette from a porcelain box on the table, tapping it on the box lid. Cut to Barrie opening his car door and stumbling up the steps to the porch. There is an immediate cut back to Irene who is just putting the lid back on the box. See more »
I'll tell him I don't approve of it in the daytime. All night's long enough for anything on earth.
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One of Joan's least typical, most underrated and best performances.
I LOVE this film. Cukor made it the same year as PHILADELPHIA STORY and it has the same exact feel and tone. This film was definitely eclipsed by the Hepburn one but deserves to be revived. Crawford is magnificent. I have never seen her play comedy like this and under Cukor's direction she excels. It proved what a versatile actress she could be. I don't understand comments like "she gives a poor imitation of what Gertrude Lawrence did on-stage". I highly doubt the person who wrote that ever saw the original stage production. He says he heard Lawrence speak lines from PRIVATE LIVES on a recording with Noel Coward and obviously that is what Joan was trying to imitate. Joan does not imitate other people and Cukor would never have allowed her to. I find it odd that when Crawford stretches herself in character parts like RAIN, SUSAN AND GOD, THE WOMEN, and A WOMAN'S FACE her public, and more importantly MGM, did not support her when she is obviously and magnificently broadening her horizons and simultaneously doing great work. THE WOMEN was the only one of this bunch that was a hit. But MGM never seemed fit to promote Joan for an Oscar. Watch this film and you will be surprised at this twist in the MGM Crawford. I think her transition at the end is remarkable and the character of Susan really grows and changes. I'm sure it was difficult for Crawford to portray a flighty, ditsy, scatterbrained woman but she really connects with something in this. I watch this movie at least twice a year. People complain it is stagey and long but with dialogue this good I'll take it over a movie half its length. The supporting cast is great. Watch Rita Hayworth in an early role. Fredric March, as usual, is brilliant and wonderful alongside Crawford. This is Joan's best comedy; and more than that, an excellent film. It's subject matter resonates today with it's "new age" religious fervor. I only wish Cukor had directed her in more because she responds soooooo well to him. Imagine if he directed GOODBYE, MY FANCY or TORCH SONG. Ah well, you can't have everything.
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