6.8/10
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Daddy Long Legs (1955)

Approved | | Musical, Romance | 5 May 1955 (USA)
On a trip to France, millionaire Jervis Pendelton sees an 18 year old girl in an orphanage. Enchanted with her, but mindful of the difference in their ages, he sponsors her to college in ... See full summary »

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Writers:

(screenplay), (screenplay) | 1 more credit »
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Nominated for 3 Oscars. Another 1 nomination. See more awards »
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Cast

Complete credited cast:
...
...
...
Linda Pendleton
...
Alicia Pritchard
...
Griggs
Charlotte Austin ...
...
Ambassador Alexander Williamson
Kathryn Givney ...
Kelly Brown ...
Ray Anthony ...
Himself (as Ray Anthony and his Orchestra)
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Storyline

On a trip to France, millionaire Jervis Pendelton sees an 18 year old girl in an orphanage. Enchanted with her, but mindful of the difference in their ages, he sponsors her to college in New England. She writes him letters, which he doesn't read. After 3 years, he goes to visit her at a dance, not telling her that he is her benefactor. They fall in love, but the usual movie-type difficulties get in the way before they can get together at the end. Written by John Oswalt <jao@jao.com>

Plot Summary | Add Synopsis

Genres:

Musical | Romance

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

|

Release Date:

5 May 1955 (USA)  »

Also Known As:

Daddy Langbein  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording) (magnetic prints)| (Western Electric Recording) (optical prints)

Color:

Aspect Ratio:

2.55 : 1
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Did You Know?

Trivia

Leslie Caron told Fred Astaire that she wanted to create her own costumes for the film. Astaire told her: "OK, but no feathers, please", recalling the utter exasperation he had with an elaborate ostrich feathered dress that Ginger Rogers insisted on wearing in Top Hat (1935), earning Rogers the nickname of "Feathers". Feathers started shedding from Rogers' dress, creating a huge distraction during filming. The shedding feathers nightmare was hilariously recreated in a dance in Easter Parade (1948) with Astaire and Judy Garland. See more »

Goofs

In a scene between Griggs and Pendleton, Pendleton, seated at the drum kit, points a drum brush at Griggs and then drops his hand as Griggs walks past him. In the immediate next closer shot of Pendleton, his arm is still raised with the drum brush pointed at Griggs. See more »

Quotes

Alicia Pritchard: Mr. Griggs, a person is NOT a corporation! A person is flesh and blood... and feelings !
See more »

Connections

Referenced in What's My Line?: Episode dated 3 April 1955 (1955) See more »

Soundtracks

Nightmare Ballet (Paris, Hong Kong, Rio)
Written by Alex North
Danced by Leslie Caron with Fred Astaire
See more »

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User Reviews

Without CinemaScope, somethin's gotta give!
17 May 2003 | by (Portland, Oregon) – See all my reviews

Fred Astaire, that supremely talented perfectionist, had a graceful and utterly charming partner in Leslie Caron in this oft-told fairy tale, so handsomely mounted by Twentieth Century Fox. It's an artifact of its era, with elements such as Ray Anthony's dance band for the prom scene; New York before it became overwhelmingly crass and vulgar; scenes set in a studio version of France when it was still permissible to admit a liking for things Gallic (which is now tantamount to treason - How absurd!); Terry Moore before she began claiming that she'd been secretly married to Howard Hughes; and Thelma Ritter allowed once more to almost steal the whole show with her slightly cynical brand of warmth. Sure there are things to object to: Larry Keating's merciless depiction of a pompous old fogey, eager to deflect Cupid's arrows; the somewhat overblown dream sequence (which did not benefit from Fred Astaire's ability to make a production number flow so matchlessly, as in the "Sluefoot" dance with Fred and Leslie, in which she's allowed to outshine all of her American schoolmates); and a score with only a couple of memorable numbers (i.e., "Dream" and the unforgettable "Somethin's Gotta Give!")

But overall you have to be more than demanding to find this anything but a delightful way to forget the world's harsher realities. The VHS version, with a DVD version probably not on the immediate horizon, no doubt does not duplicate Leon Shamroy's elegant CinemaScope framing. So be forewarned - this was made at a time when the hierarchy at Twentieth virtually commanded that all A-list productions take full advantage of the widescreen ratio and if that's lost, then you won't be seeing anything like what we saw in theaters during the theatrical release of this charmer.


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