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Wealthy Samuel Fulton is getting older and has no family of his own. He decides to leave his estate to the family of his first love, who turned down his marriage proposal years ago because he was poor. But he wants to test the family before leaving his money to them. He takes a room in their home and a job in the father's shop. He anonymously grants them $100,000. Harriet Blaisdell moves the family into a mansion and makes plans to marry her daughter Millicent off to a socialite rather than her soda jerk boyfriend Dan. The money goes to their heads, and they soon find themselves broke, back in their old house, and back to their old lives. Father back in his shop, Millicent engaged to Dan, and everyone seemingly much happier. Hoping they learned their lesson, Fulton takes his leave of the family. Written by
Ed Stephan <email@example.com>
In the library scene, Millie approaches Dan and asks: "What are you reading?", to which he responds: "'It'. Something which I evidently haven't got." Millie responds: "Why, I think you have, Dan. I think you have lots of 'it'". This is a reference to Elinor Glyn's 1927 novel 'It'. Glyn popularized the word 'it' as a euphemism for 'sex appeal'. See more »
Youth at Soda Fountain:
Hey Gramps, I'll have a choc malt, heavy on the choc, plenty of milk, four spoons of malt, two scoops of vanilla ice cream, one mixed and one floating...
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Sumptuous, funny look at the family values, 20s style.
Yup, that's James Dean at the soda fountain in a blink-and-you-miss-him scene! That's just one of the treats in this intoxicatingly charming film. I've always thought Piper Laurie was every bit as gorgeous as the other 50s sirens and Rock Hudson, director Sirk's go-to guy, is perfect as the hunky soda jerk in love. Beautiful to look at, with plenty of period songs, costumes, and cars. And the hep dialogue is a scream as is the agony of the period's high prices: a dozen eggs for under 15 cents! A great double bill would be seeing this with that other 1952 classic set in the same period, Singin' in the Rain. One of Mancini's earliest films.
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