Needing to fill the position of general manager of his company, and believing that an executive's wife is crucial to her husband's success, auto industry mogul Gifford brings three couples ... See full summary »
In early 1900s' Pennsylvania, Mr. Pennypacker has two company offices and two families with a combined total of 17 children. With an office in Harrisburg and an office in Philadelphia, he ... See full summary »
Ellen (June Allyson) is kidnapped by father (Charles Bickford) after she ran off and got married to someone he thinks is a gold digger. She escapes and starts an adventurous trip back to ... See full summary »
Patrick Martin (Joseph Cotten), known as P.M., is a wealthy attorney and rancher big-man-in-town in the border town of Nogales, Arizona. He returns home to find his brother Donald (Van ... See full summary »
A woman tormented by the hunting death of her husband forbids her son to have anything to do with horses. But when he falls for the daughter of his father's trainer, he defies his mother by entering the Maryland Hunt.
Air Force test pilot Pike Yarnell reluctantly attends the memorial service for long-dead Donald Beasley, his navigator during the Korean War; recalling, in flashbacks, their painful days ... See full summary »
Needing to fill the position of general manager of his company, and believing that an executive's wife is crucial to her husband's success, auto industry mogul Gifford brings three couples to New York to size up: Jerry and Carol: he hard-driven and self-reliant, she willing to use her beauty to further her husband's career; Sid and Elizabeth, he ulcer-ridden and torn between achieving success and restoring their troubled marriage, she positive that his job will kill him, but gamely agreeing to play the good wife for the duration; and down-to-earth Bill, whose good-natured Katie fears that his promotion would spell the end of their idyllic familiy existence. Written by
Paul Penna <email@example.com>
A section of Lauren Bacall's dialogue from the film is used at the end of the song "The Asphalt World", which appears on the British band Suede's second album and what is considered to be their creative high point "Dog Man Star". See more »
In the scene where Katie is looking in the Macy's windows, the street scene behind her does not change when she moves from one window to another. The same rear projection continued to play for both windows. See more »
Slick, superficial CinemaScope stuff from Hollywood's early-'50s panic attack: How ya gonna keep 'em down at the flicks after they've seen TV? Fox tried to with big screens, splashy colors, and half a dozen or so stars crammed into one entertaining soap-opera premise. There's no cinema-making genius going on here, but the movie is overwhelmingly entertaining, both for its look and its morality. A consumerist's paradise, it's so stuffed with cars and gowns and doodads that you're seized with an overwhelming urge to go shopping after you've seen it. (The cars, in particular, are '50s-futurists designs from Ford/Lincoln/Mercury, and they're knockouts.) And the morality is so utterly of its time: The onscreen drinking and smoking are nonstop, the gender premises (men seek power, women seek men) are unquestioned, and the subtext is clearly that money and power are fine, but holding on to your man is what really counts. And to do that, you'd better learn to be a dear little klutzy wifey like June Allyson instead of a calculating harlot like Arlene Dahl. Of the women, Allyson's wife-waif act becomes monotonous, and while Dahl is luscious to look at and seems to be in on the joke of how one-note her character is, she's not really much of an actress. So Bacall, her crisp-sophisticate act honed to a fine sharpness, comes off best by default. The men are all OK, but New York is the real star.
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