The life of boisterous entertainer Texas Guinan is recalled from her poor childhood with a down-on-his-luck father to her reign as the Queen of the Night Clubs. Along the way, she also ... See full summary »
Arturo de Córdova,
Dizzy society matron Emily Kilbourne has a habit of hiring ex-cons and hobos as servants. Her latest find is a handsome "tramp" who shows up at her doorstep and soon ends up in a ... See full summary »
Norman Z. McLeod
Susan Miller works behind the girdle counter in a department store and dreams about the beautiful clothes and glamour she can never hope to have. Enter May Worthington and Warren, a pair of... See full summary »
It is early 1939 in Poland when Mrs. Bromley and Jennifer come to buy antiques for her business in London. Jennifer meets Count Stephen and they wine, dine and see the sights though out the... See full summary »
London, 1783: Kitty, a saucy wench of the slums, meets the painter Gainsborough by stealing his shoes. He paints her as an "anonymous lady" who excites the interest of his noble friends, notably penniless Sir Hugh Marcy, who schemes to pass Kitty off as a genuine lady (a formidable task) and marry her off for financial gain. But Kitty has her own ideas about the uses of matrimony. Lots of decolletage. Written by
Rod Crawford <email@example.com>
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on February 24, 1947 with Paulette Goddard reprising her film role. See more »
Lady Susan Dowitt:
One of the most important accomplishments of the modern young woman is the use of the fan. She does not employ it to cool herself, but rather to express the emotions.
Sir Hugh Marcy:
Women are armed with fans as men are with swords, and frequently do much more damage with them.
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Other IMDb comments on this one tell all that ought to be said about this lavish feast, unaccountably mounted in black-and-white when Technicolor was obviously called for. I suspect that the iron control that Natalie Kalmus exercised on almost every Technicolor film made through at least the mid-Forties discouraged many a producer from adding the extra expense to the budget, burdening his crew with the cumbersome three-strip cameras and the hellishly hot lighting they required, and the high cost of the final prints. Now that virtually every film is made in color, we forget that making a film in color prior to the introduction of Technicolor's own single-strip process and its rivals (i.e., Metrocolor, Warnercolor, DeLuxe Color, etc.) was a very big deal, indeed. Which is not in the least meant to say that Hollywood's artisans did not achieve some memorably beautiful work using black-and-white cameras. "Kitty" is a prime example, with a luxurious production and a cast fully able to flesh out the script's frequently funny evocation of a very pre-modern England. Even on a TV broadcast which I caught many years ago, this one was a thoroughly entertaining and eye-filling treat, and it would certainly merit a VHS and/or DVD release in my estimation.
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