A struggling young actress with a six-year-old daughter sets up housekeeping with a homeless black widow and her light-skinned eight-year-old daughter who rejects her mother by trying to pass for white.
In the post-war, the alcoholic and bitter veteran military and former writer Dave Hirsch returns from Chicago to his hometown Parkman, Indiana. He is followed by Ginnie Moorehead, a vulgar ... See full summary »
Told in flashback form, the film traces the rise and fall of a tough, ambitious Hollywood producer Jonathan Shields, as seen through the eyes of various acquaintances, including a writer James Lee Bartlow, a star Georgia Lorrison and a director Fred Amiel. He is a hard-driving, ambitious man who ruthlessly uses everyone - including the writer, star and director - on the way to becoming one of Hollywood's top movie makers. Written by
Leo G. Carroll's brief appearance as a "demanding" director is a thinly veiled reference to Alfred Hitchcock. When he first came to Hollywood, Hitchcock was under contract to producer David O. Selznick for years. Carroll had roles in many Hitchcock films of this era. See more »
In Lorrison's house, Shields directs the beam from a flashlight at a picture drawn on the wall. He then moves the flashlight, but the beam does not move with it. See more »
Well, congratulations, you've got it all laid out for you so you can wallow in pity for yourself. The betrayed woman. The wounded doe with all the drivel that goes with it going through your mind right now. Oh, he doesn't love me at all. He was lying. All those lovely moments, those tender words. He's lying. He's cheap and cruel. Well, maybe I like Lilas. Maybe I like to be cheap once in a while! Maybe everyone does, or don't you remember?
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Glossy MGM soaper has many things to recommend it, not the least of which is a surprisingly grounded, natural Lana Turner (looking great, even in ordinary jammies) playing a successful movie actress who, along with a top screenwriter and director, help producer-on-the-skids Kirk Douglas stage a comeback. Not especially revealing about Hollywood, which at this stage wasn't quite ready to unmask itself, but still engaging and intriguing. Douglas is well-cast (he spits out his lines with a terse jaw--nothing new--but he's right for this part and is commendable). Turner is a revelation and deserved at the very least an Oscar nomination for her work. Sharp dialogue and gleaming photography are the other major assets. Gets less attention than something like "All About Eve", but it's actually more entertaining. *** from ****
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