Small town Kansas girl, Lily James, is the latest model working for the Thomas Callaway Agency in New York City. Despite her small town roots, Lily is street-wise because of her tough ... See full summary »
Small town Kansas girl, Lily James, is the latest model working for the Thomas Callaway Agency in New York City. Despite her small town roots, Lily is street-wise because of her tough growing up experiences, and as such she is a good judge of character. She believes she can escape her troubles through professional success. Because of her hard work ethic, she quickly does rise to the top of her profession. She attracts the attention of Steve Harleigh, a wealthy copper mine owner. Despite they both knowing that nothing can come between them, they fall in love. The issues are that he lives and works in Montana, and that he is already married. Steve feels guilty about his marital infidelity as his wife, Nora, is physically disabled from a car accident in which he was the cause. Lily has to decide if her own happiness is worth destroying the life of a woman - an invalid - she's never met. Written by
The haunting theme music here by Bronislau Kaper was reused two years later in MGM's _Invitation (1952)_, and under the title Invitation became an enduring jazz standard, especially associated with tenor saxophonist Joe Henderson. See more »
Lily James appears as "Top Model" on the cover of a Life magazine being read by Jim Leversoe. The scene immediately dissolves to the cover of the same Life magazine in a plane with Steve Harleigh, but the cover shot of the Life magazine on the plane is an entirely different pose (but the same outfit and hairdo). See more »
By the time Lana Turner and Ray Milland were paired in this romantic drama, they both seemed to have the "mark" of their respective studios written over them.
Turner's was MGM, and indeed this film was made at that studio. Milland's was Paramount, and he seemed a "guest visitor" to the Metro ambiance.
While both actors were certainly equally successful in their respective careers, their casting did seem a bit strange to me. I kept thinking, what's Paramount doing at MGM?
Not that Milland offered anything but his usual solid work; he just seemed a bit unusual in the total scheme of things. However, being the solid pro he was, he carried off his "slumming millionaire" role with aplomb; likewise Turner gave her part her all.
The script was fair, and Director George Cukor made the most of what he had to work with. In the end an interesting "hybrid," adequately carried off by two thespian entities of varying affiliations.
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