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.
A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.
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
To somewhat soften the depiction of Shields, Vincente Minnelli cut a scene in which he accepts the Best Picture Oscar® for the film whose idea he had stolen from his best friend. In the scene, Shields devotes most of his speech to his late father, then makes only a brief mention of his friend at the end. See more »
Jonathon coaches Georgia on how to seductively light a cigarette for her movie role but her part is in a historical picture in which she apparently plays a peasant/princess living in an era when women didn't smoke anyway - let alone use a cigarette as part of romantic allure. See more »
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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