IMDb > The Shocking Miss Pilgrim (1947)
The Shocking Miss Pilgrim
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The Shocking Miss Pilgrim (1947) More at IMDbPro »


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George Seaton (written for the screen by)
Ernest Maas (from a story by) ...
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Release Date:
4 January 1947 (USA) See more »
A Merry Escapade! Scandalous! Joyous! See more »
In the late 1800s, Miss Pilgrim, a young stenographer, or typewriter, becomes the first female employee at a Boston shipping office... See more » | Add synopsis »
(2 articles)
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User Reviews:
The Suffrage Movement: 1875 - Boston See more (11 total) »


  (in credits order) (verified as complete)

Betty Grable ... Cynthia Pilgrim
Dick Haymes ... John Pritchard

Anne Revere ... Alice Pritchard
Allyn Joslyn ... Leander Woolsey

Gene Lockhart ... Saxon
Elizabeth Patterson ... Catherine Dennison
Elisabeth Risdon ... Mrs. Prichard
Arthur Shields ... Michael
Charles Kemper ... Herbert Jothan

Roy Roberts ... Mr. Foster
rest of cast listed alphabetically:
Margaret Bannerman ... (scenes deleted)
Susan Blanchard ... (scenes deleted)
Nina Gilbert ... Cynthia's Mother (scenes deleted)

Coleen Gray ... Minor Role (scenes deleted)
Robert Malcolm ... Cynthia's Father (scenes deleted)
Jane Nigh ... Cynthia's Sister (scenes deleted)

Clarence G. Badger ... Herbert Jothan (singing voice) (uncredited)
Myrtle Ball ... (uncredited)
Ernie Baron ... (uncredited)
George Beranger ... Office Clerk (uncredited)
Lillian Bronson ... Viola Simmons (uncredited)
Robert Cherry ... Stenographer (uncredited)

Jeff Corey ... Stenographer (uncredited)
Jack Costello ... Office Clerk (uncredited)
Catherine Courtney ... (uncredited)
Frank Dawson ... Waiter (uncredited)
Hal K. Dawson ... Peabody (uncredited)
Louis DeWitt ... Sketch Artist (uncredited)
Mary Field ... Teacher (uncredited)
William Frambes ... (uncredited)
Maxine Gates ... (uncredited)
Karen X. Gaylord ... Redheaded Girl (uncredited)
Douglas Gerrard ... Office Clerk (uncredited)
George Gramlich ... Leander Woolsey (singing voice) (uncredited)
Barry Heenan ... Stenographer (uncredited)
Sheldon Jett ... Office Clerk (uncredited)
Raymond Largay ... Mr. Packard (uncredited)
Eddie Laughton ... Quincy (uncredited)
Perc Launders ... (uncredited)
Les Livingstone ... Office Clerk (uncredited)
Therese Lyon ... Minor Role (uncredited)
Saul Martell ... Orator (uncredited)
Junius Matthews ... Mr. Carter (uncredited)
Beatrice Maude ... (uncredited)
Robert McCord ... Office Clerk (uncredited)
George Melford ... Minor Role (uncredited)
Alice Mock ... Alice Pritchard (singing voice) (uncredited)
Tom Moore ... Office Clerk (uncredited)

Dave Morris ... (uncredited)
Edward Mundy ... Office Clerk (uncredited)
Al Murphy ... (uncredited)
Dorothy Neumann ... Stenographer (uncredited)
Spec O'Donnell ... (uncredited)
Tom Pilkington ... Orator (uncredited)
Victor Potel ... Speaker (uncredited)
Stanley Prager ... Office Lookout (uncredited)
Constance Purdy ... Sarah Glidden (uncredited)
Raisa ... Stenographer (uncredited)
Ruth Rickaby ... Mrs. Thompson (uncredited)
Kay Riley ... Teacher (uncredited)
Countess Elektra Rozanska ... Singer (uncredited)
Frank J. Scannell ... (uncredited)
Maxine Semon ... (uncredited)
Helen Servis ... (uncredited)

Robert Shaw ... Secretary (uncredited)
John Sheehan ... Vendor (uncredited)
Roxanne Stark ... Boardinghouse Keeper (uncredited)
Mildred Stone ... Susan Nixon (uncredited)
Joseph Terry ... Office Clerk (uncredited)
Bob Tidwell ... Boy (uncredited)
Kay Vallon ... Stenographer (uncredited)
Regina Wallace ... Mother (uncredited)
Pierre Watkin ... Wendell Paige (uncredited)
Josephine Whittell ... Boardinghouse Keeper (uncredited)
Frank Wolf ... (uncredited)

Hank Worden ... Office Clerk (uncredited)

Directed by
George Seaton 
Edmund Goulding (uncredited)
John M. Stahl (uncredited)
Writing credits
George Seaton (written for the screen by)

Ernest Maas (from a story by) and
Frederica Sagor (from a story by) (as Frederica Maas)

Produced by
William Perlberg .... producer
Darryl F. Zanuck .... executive producer (uncredited)
Original Music by
David Raksin (uncredited)
Cinematography by
Leon Shamroy (director of photography)
Film Editing by
Robert L. Simpson  (as Robert Simpson)
Art Direction by
James Basevi 
Boris Leven 
Set Decoration by
Thomas Little 
Costume Design by
Makeup Department
Ben Nye .... makeup artist
Second Unit Director or Assistant Director
Arthur Jacobson .... assistant director (uncredited)
Art Department
Al Orenbach .... associate set decorator
Sound Department
Alfred Bruzlin .... sound
Roger Heman Sr. .... sound (as Roger Heman)
Special Effects by
Edwin Hammeras .... transparency process (uncredited)
Edward Linden .... transparency process (uncredited)
Edward Snyder .... transparency process (uncredited)
Visual Effects by
Fred Sersen .... special photographic effects
Camera and Electrical Department
Eugene Kornman .... still photographer (uncredited)
F. Bud Mautino .... camera operator (uncredited)
Costume and Wardrobe Department
Eugene Joseff .... costume jeweller (uncredited)
Music Department
Charles Henderson .... associate musical director
Alfred Newman .... musical director
Edward B. Powell .... orchestral arranger (as Edward Powell)
David Raksin .... musical supervisor
Herbert W. Spencer .... orchestral arranger (as Herbert Spencer)
Kay Swift .... musical assistant: Ira Gershwin (as Miss Kay Swift)
Charles Althouse .... music mixer (uncredited)
Maurice De Packh .... orchestrator (uncredited)
Arthur Morton .... orchestrator (uncredited)
Paul Neal .... music mixer (uncredited)
Murray Spivack .... music mixer (uncredited)
Jack Virgil .... orchestrator (uncredited)
Other crew
Leonard Doss .... associate technicolor director
Natalie Kalmus .... technicolor director
Hermes Pan .... dances stager
Angela Blue .... assistant choreographer (uncredited)
Gertrude Kingston .... research assistant (uncredited)
Frances C. Richardson .... researcher (uncredited)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
85 min
Color (Technicolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (Western Electric Recording)
Finland:S | USA:Approved (PCA #11574)

Did You Know?

This was the first Betty Grable vehicle not to achieve major-hit status following her assent to stardom in Down Argentine Way (1940). Twentieth Century-Fox executives blamed the mild box office on the rather genteel appearance of Miss Grable, sporting darker-blonde hair and failing to display her renowned legs.See more »
Cynthia Pilgrim:I am a typewriter!See more »
Movie Connections:
Referenced in Nowhere Boy (2009)See more »
Aren't You Kinda Glad We Did?See more »


This FAQ is empty. Add the first question.
9 out of 12 people found the following review useful.
The Suffrage Movement: 1875 - Boston, 13 June 2005
Author: theowinthrop from United States

Because of the prominence of the abolition movement in the 1830s -1860s, other American social movements of the day are not thought of very much. If you are interested, read Tyler's book FREEDOM'S FERMENT, which discusses the international peace movement, woman's rights, and other movements of equal interest in that period - only these did not lead to Civil War. The woman's suffrage movement had begun in 1848 in upstate New York, but it really does not get the momentum that made it memorable until the 1870s. Then Susan B. Anthony goes on trial (also in New York State) for daring to try to vote in a national election. Also Victoria Woodhull throws her hat into the ring (unofficially) for the Presidency in 1872. Later Anthony and Elizabeth Cady Stanton organize the woman's movement, so that after they both die in the early 1900s it grows until it achieves suffrage by Federal Constitutional Amendment in 1919.

THE SHOCKING MISS PILGRIM is not the only film to tackle early woman's suffrage. There is a bit about the movement in the character of Miss Massingale in THE HALLELUJAH TRAIL, who keeps confronting (and romancing) Burt Lancaster's army Colonel. But THE SHOCKING MISS PILGRIM is actually the only film from that looks at the movement at a critical moment in it's history. A little background is needed here.

In the early days of the women's suffrage movement, there was considerable debate regarding allying the movement with other social movements of the day. However, Anthony and Stanton were convinced by Frederick Douglass to work for abolition, because if slavery was abolished (Douglas argued) woman's servitude would have to follow soon after. But in the post-Civil War years, the relationship between Douglass and the suffrage leadership soured. Douglass, once the 13th, 14th, and 15th Amendments got passed, was more concerned about African American (read African-American males) consolidating and expanding their gains. He started to curb joint efforts with Stanton and Anthony on woman's rights, claiming that it just was not the time (although his previous argument had been to strike when the fire was hot!). Anthony and Stanton eventually over-reacted. They never forgave the betrayal by Douglass, and soon they managed to make the woman's suffrage movement lily white (and rather racist towards the former male slaves who now - theoretically - could vote). A small African-American woman's suffrage movement pushed forward too, but it was fighting antagonism by male African-Americans, and racism by white women who should have been their sisters in arms.

The lesson though was now burned into the heads of the woman's movement - don't ally yourself with other causes. And, interestingly enough, this is the center for part of the plot of THE SHOCKING MISS PILGRIM. Betty Grable tries to keep her friends from allying themselves with another social movement which grew with woman's suffrage - Prohibition. She is unable to do so. In the decades from 1870 - 1920 many woman suffrage figures, like Carrie Nation, were also outspoken supporters of prohibition. These women (like Nation) had homes that had been wrecked by alcoholic husbands, so their stand and unity with Prohibitionists made sense. But the bulk of the woman's movement avoided this, because they did not want their political agenda tainted by a rival one. The same situation happened in the English suffrage movement too, when Mrs. Pankhurst's daughters split on allying with the British Labor Party, and the anti-war movement. Sylvia Pankhurst remained united with Labor leader and pacifist Keir Hardie, but her sister Cristobel was clever enough to offer to support the war effort in return for Asquith and Lloyd George's support for woman's voting rights.

THE SHOCKING MISS PILGRIM has several things working for it. The two leads had a good story. Dick Haymes was actually better in this film as the hero who learns to respect working women, than he was as the son in STATE FAIR. Grable actually had a role in a musical that did not begin and end with her gorgeous legs, and moderately pleasing singing voice - it is her meatiest musical role. The Gershwin score is minor Gershwin, but still enjoyable. Like minor Marx Brothers or minor Van Gogh etchings, they are still better than most people's best. The supporting character actors cast, led by Gene Lockhart, Allan Joslyn, and Elizabeth Patterson manage to give a gentleness to the story, befitting the setting in Boston in the "Gilded Age". It is a nice musical - not great, but enjoyable.

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