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 ...
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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 »
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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
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 »
If Susan's lying in a ditch, you can be sure it's a perfectly good ditch, with hot and cold running water.
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Joan tries for something different with mixed results
Odd film especially for a Crawford vehicle about a shallow socialite who takes up religion on a whim with an overly simplistic ending.
It's easy to see why Joan accepted this after Norma Shearer's vanity got in the way of her taking the part, she wouldn't play a part of a woman with an almost adult child. Norma would have been much more right for the role since her facile, sometime brittle superior air was more in line with the part than Crawford's earthiness although she tries to submerge it. Susan was definitely different for Joan who at this point was looking for challenges cracking that she'd play Wally Beery's grandmother if it was a good part!
The film suffers from not having anyone to really root for outside the minor character of the main couple's daughter Blossom. Both Joan and March's characters are selfish, and for the most part, thoughtless fools.
This was the screen debut, in a wordless bit, of Susan Peters and Dan Dailey in a slightly larger part. Also keep a sharp eye out for Joan Leslie and Gloria De Haven in tiny parts just starting out.
Someone who has a larger part and actually attracted quite a bit of notice for this picture moving her forward to larger parts than she had been cast previously is Rita Hayworth. She's ravishing although not quite fully arrived at her star persona just yet. Still a brunette she handles her small supporting role well injecting a touch of pathos into a sketchily drawn part.
Points to Crawford for trying to stretch her established persona but while it's an admirable attempt the results are mixed.
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