Movie director John Gayle is fired by his best friend, a producer. He goes to the beach and wanders into a carnival. There he sees a cleaver Irish girl, Mary O'Leary, and decides to 'discover' her and regain his job. He takers her to his home and does a series of "Pygmalion" experiments with her. She becomes a fine actress and is hired by the movie studio, who believe her to be a FRench heiress. Gayle is hired to direct her but when she gives away the whole hoax, he is fired again. Written by
Les Adams <firstname.lastname@example.org>
To totally disagree with the previous reviewers, I think that this, together with all other early Sirk movies I've seen, is nothing short of staggering. Filled with one-liners worthy of a Howard Hawks/Ben Hecht movie, it's not only early evidence of Sirk's genius for space and light and shadow, but also a highly sophisticated and perverse rendition of the Pygmalion theme. It's a measure of Sirk's genius that the characters, though formulaic, spring to life as in a Greek tragedy
or a Raoul Walsh, CB de Mille etc. movie- through the sheer strength
of stereotype. Here, as elsewhere, Sirk is a bit like Frank Sinatra: cool and detached on surface, but revealing underneath the filth and the fury ;> I saw it today (6APR07) at the Film Forum NYC and it blew me away. Someone release it in DVD fast, it's an (to my knowledge) unsung masterpiece.
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