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The Man I Love (1947)

Visiting her two sisters and brother, singer Petey Brown lands a job at small-time-hood Nicky Toresca's nightclub. While evading the sleazy Toresca's heavy-handed passes at her, she falls ... See full summary »

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(screenplay), (adaptation) | 2 more credits »
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Cast

Complete credited cast:
...
...
Nicky Toresca
...
Sally Otis
...
Virginia Brown
...
San Thomas
...
Riley
...
Gloria O'Connor
John Ridgely ...
Roy Otis
...
Johnny O'Connor
Warren Douglas ...
...
Bandleader
Tony Romano ...
Singer at Bamboo Club
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Storyline

Visiting her two sisters and brother, singer Petey Brown lands a job at small-time-hood Nicky Toresca's nightclub. While evading the sleazy Toresca's heavy-handed passes at her, she falls in love with down-and-out ex-jazz pianist Sand Thomas, who has never quite recovered from an old divorce. While solving the problems of her sisters, brother and their next-door neighbor, the no-nonsense Petey must wait as Sand decides whether to start a new life with her or sign on with a merchant steamer. Written by Doug Sederberg <vornoff@sonic.net>

Plot Summary | Add Synopsis

Taglines:

There should be a law against knowing the things I found out about men! See more »


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Details

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Release Date:

11 January 1947 (USA)  »

Also Known As:

Besuch in Kalifornien  »

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Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Ida Lupina's singing voice was dubbed by Peg LaCentra See more »

Quotes

San Thomas: I ran down like a clock. It was just as though I'd been wound up too tight and the spring broke.
See more »

Connections

Featured in Okay for Sound (1946) See more »

Soundtracks

Please Don't Talk About Me When I'm Gone
(uncredited)
Music by Sam H. Stept
[Played when Jack stops by the table at the Bamboo Club]
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User Reviews

 
Ida Lupino outshines large cast in Raoul Walsh's messy, irresistible, high-40s drama
27 October 2003 | by (Western New York) – See all my reviews

Raoul Walsh's The Man I Love opens during an after-hours jam session at a Manhattan jazz boîte, the 39 Club, where Petey Brown (Ida Lupino, dubbed by Peg La Centra) sings the title song while expelling cigarette smoke. And it seems there was a man she loved, but we don't hear much about him, except that their parting has given her wanderlust, leading her back home to California.

Living there is what's left of the family of which she becomes de facto matriarch: Her sister Sally (Andrea King), whose shell-shocked husband (John Ridgely) is in a psychiatric hospital; younger sister Ginny (Martha Vickers); and ne'er-do-well brother Joe (Warren Douglas). Almost part of the family are next-apartment neighbors, the O'Connors - doting and deluded Johnny (Don McGuire) and discontented, two-timing Gloria (Dolores Moran, in a deliciously slutty turn).

They keep Lupino's hands full, but a girl's gotta make a living, too, so she slaps on the war-paint and slithers into a gown, landing a job as `canary' in a nightspot operated by womanizing Nicky Toresca (Robert Alda). She keeps rather tepid company with him, until circumstance brings legendary jazz-piano man San Thomas (Bruce Bennett) into her life; the victim of an unhappy marriage, he's currently AWOL from the Merchant Marine and thinks he's lost his gift for the ivories. They kindle a volatile liaison (apparently the template from which Martin Scorsese struck the romance between Francine Evans and Jimmy Doyle in New York, New York). But Lupino's two lives, family and romantic, start to interlock disruptively....

An unlikely amalgam of freighted, '40s romance, low-key musical and a touch of film noir, The Man I Love relies less on plot than on old-fashioned story. It's a complicated and ever-shifting story that Walsh manages to juggle adroitly (though he lets a couple of Indian clubs clatter to the floor - the shut-away husband and the Vickers character don't come to much, and the usually glamorous King is ill-garbed as the long-suffering hausfrau).

But Lupino, though she shares the movie with a large cast, stays at its center - strong and smart-mouthed but compassionate and vulnerable. (Her grand exit, smiling through tears on the waterfront, recall's Barbara Stanwyck's in Stella Dallas.) Bennett proves a good match for her, in a strong, shaded performance (though top billing among the males goes to Alda, looking like a young Danny Thomas and delivering no more than a bland, generic heavy).

The Man I Love exerts a nostalgic pull that avoids (barely) the campy and the overwrought. Though there's a violent death, it's not a violent film, nor even, really, a crime story. Coming from the immediate post-war era when emotions were still running high and not yet subject to over-analysis, it serves up its thick stew with gusto. Yes, it ends a little too daintily, but with its torch songs, its messy relationships, and unabashed commitment, it still makes a memorable meal.


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