Daddy Long Legs (1955)

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 »

Director:

Jean Negulesco

Writers:

Phoebe Ephron (screenplay), Henry Ephron (screenplay),

Stars:

Fred Astaire, Leslie Caron, Terry Moore

Nominated for 3 Oscars. Another 1 nomination.

Cast

Complete credited cast:
Fred Astaire	...	Jervis Pendleton III
Leslie Caron	...	Julie Andre
Terry Moore	...	Linda Pendleton
Thelma Ritter	...	Alicia Pritchard
Fred Clark	...	Griggs
Charlotte Austin	...	Sally McBride
Larry Keating	...	Ambassador Alexander Williamson
Kathryn Givney	...	Gertrude Pendleton
Kelly Brown	...	Jimmy McBride
Ray Anthony	...	Himself (as Ray Anthony and his Orchestra)

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.

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Plot Keywords:

letter | orphanage | love | college | 18 year old | 

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Genres:

Musical | Romance

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Certificate:

Approved

Details

Country:

USA

Language:

English French

Release Date:

5 May 1955 (USA)

Also Known As:

Daddy Langbein

Filming Locations:

Andrew Carnegie Mansion - 2 East 91st Street, Manhattan, New York City, New York, USA

Company Credits

Production Co:

Twentieth Century Fox Film Corporation

Technical Specs

Runtime:

126 min

Sound Mix:

4-Track Stereo (Western Electric Recording) (magnetic prints) Mono (Western Electric Recording) (optical prints)

Color:

Color

Aspect Ratio:

2.55 : 1

Did You Know?

Trivia

In this film, The Pied Pipers brought back Johnny Mercer's endearing ballad "Dream," which had provided the quartet with a best-selling Capitol single in 1945.

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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.

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Quotes

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

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Connections

Edited into Fred Astaire Salutes the Fox Musicals (1974)

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Soundtracks

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

User Reviews

Without CinemaScope, somethin's gotta give!

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.