Florence and Chet Keefer have had a troublesome marriage. Whilst in the middle of a divorce hearing the judge encourages them to remember the good times they have had hoping that the ... See full summary »
Ella Peterson is a Brooklyn telephone answering service operator who tries to improve the lives of her clients by passing along bits of information she hears from other clients. She falls ... See full summary »
Dot Burton (Faye Emerson)has acted as a decoy in a bank robbery and fails to get away. Her arrest attracts the attention of Ken Phillips (Frank Wilcox), a former childhood sweetheart who ... See full summary »
Arnold Boult is determined to make his son a success at all costs. He commits arson, causes two suicides, and bribes people. His wife, unable to leave him, becomes alcoholic and dies. His ... See full summary »
Fugitive Lee Leslie is wanted by three groups; the police, the gangsters who fear his testimony in court and the insurance company that carries a $1,000,000 policy on him and is anxious to ... See full summary »
Terry O. Morse
Eddie Foy Jr.
Victor Shanley had once been New York City's most-acclaimed crime-fighting, crusading District Attorney and the scourge of the underworld. But the workaholic demands of the job led him to ... See full summary »
Florence and Chet Keefer have had a troublesome marriage. Whilst in the middle of a divorce hearing the judge encourages them to remember the good times they have had hoping that the marriage can be saved. Written by
Col Needham <firstname.lastname@example.org>
At the film comes to the classical "The End" over the final shot of the two main characters in background, instead of the usual fade-out, Columbia Pictures added the advertisement: "You have just seen our New Personality - ALDO RAY - Please watch for his next picture." In the background, a short sequence of Aldo Ray speaking (no dialogue heard - simply the remaining ending score) in a bedroom setting seen in the movie. See more »
It's widely known that Judy Holliday was the greatest comic actress of all time, but did you know she was also a subtle and moving tragedienne? This movie begins as a screwball comedy about a sparring couple, and all I'll tell you is, it turns into something quite different -- and it pulls it off. Judy's beautiful playing has much to do with this, as does Cukor's deft direction. Aldo Ray is a revelation: You may not think of him as a leading actor of his generation, but with Cukor's touch, he hits all the notes of tenderness, childishness, and bewilderment written into his character. Husband-and-wife screenwriters Kanin and Gordon supply funny lines, ingenious dream sequences, a "Rashomon"-type narrative, and much hard-earned insight into marital discord. Also, unusual for a Hollywood film from the '50s, the kids come off as real kids, not synthetic little dears or bratty little monsters.
Despite all the high-priced talent, it's a cheap-looking movie, with almost verite glimpses of 1952 New York. And the abrupt shift of tone may be off-putting to some. Me, I appreciated the film for treating adults like adults, and for suggesting that life and marriage are not wrapped up in neat little packages. An offbeat movie, and very rewarding for those willing to accept it on its own terms.
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