Jim and Connie's postwar New York building troubles keep Jim from working on his novel. Ex-WAC from Jim's army days Roberta moves in, further upsetting Connie but pleasing Jim's friend Ed. ... See full summary »
When billionaire Jean-Marc Clement learns that he is to be satirized in an off-Broadway revue, he passes himself off as an actor playing him in order to get closer to the beautiful star of the show, Amanda Dell.
The title river unites a farmer recently released from prison, his young son, and an ambitious saloon singer. In order to survive, each must be purged of anger, and each must learn to understand and care for the others.
Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry's friend Earl.
Airline pilot Jed stays at the New York hotel where girlfriend Lyn is a singer. He sees Nell in a window opposite his and they get chummy. When the girl she's baby-sitting, Bunny, enters Nell goes crazy and sends her to her room. She fantasizes that Jed is her long lost fiance. Jed comes to realize that Nell is more than a little whacko. Written by
Ed Stephan <email@example.com>
When Lyn and Jed get photographed in the bar by the camera lady, she snaps only one picture of them. When she brings the novelty items (handkerchief, matchbook, ashtray, and postcard) to their booth minutes later, the handkerchief shows a slightly different pose than the others. See more »
Mrs. Emma Ballew:
After all, we guests who live here from year to year, we deserve a little consideration, too.
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This film doesn't receive a lot of attention. I grew up a fan of classic film, and I only saw this one once until tonight. Seeing it for the second time (I can't imagine there are any other major-release MM films I haven't seen over & over) I was extremely impressed by the quality of the performance Marilyn turned in. Hardcore fans seem to generally feel that her performance in "the Misfits" is her finest; the role had more depth than many she played, and seemed highly personal. I argue that she does just as fine a job in just as deep a role in "Don't Bother To Knock." It's my belief that MM was _ALWAYS_ versatile and talented, but that the American public fell so deeply in love with the breathless (& brainless) beauty role, that the studios typecast her until they weren't sure her looks alone would be enough to guarantee the volume of gross profits which they expected from Marilyn's films.
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