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The Girl in the Red Velvet Swing (1955)

6.4
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The Girl in the Red Velvet Swing is the true story of Evelyn Nesbit Shaw, a beautiful showgirl caught in a love triangle with elderly architect Stanford White and eccentric young millionaire Harry K. Thaw.

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Title: The Girl in the Red Velvet Swing (1955)

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Cast

Complete credited cast:
...
...
...
...
Delphin Delmas
Cornelia Otis Skinner ...
Mrs. Thaw
Glenda Farrell ...
Mrs. Nesbit
Frances Fuller ...
Mrs. Elizabeth White
Phillip Reed ...
Robert Collier (as Philip Reed)
Gale Robbins ...
Gwen Arden
James Lorimer ...
McCaleb
...
William Travers Jerome
Robert F. Simon ...
Stage Manager (as Robert Simon)
Harvey Stephens ...
Dr. Hollingshead DDS
Emile Meyer ...
Hunchbacher
Edit

Storyline

The Girl in the Red Velvet Swing is the true story of Evelyn Nesbit Shaw, a beautiful showgirl caught in a love triangle with elderly architect Stanford White and eccentric young millionaire Harry K. Thaw.

Plot Summary | Plot Synopsis


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

1 October 1955 (USA)  »

Also Known As:

Das M├Ądchen auf der Samtschaukel  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (FMC Library Print)

Sound Mix:

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

Color:

Aspect Ratio:

2.55 : 1
See  »
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Did You Know?

Trivia

Before being put on suspension, Marilyn Monroe was 20th Century-Fox's original choice for the role of Evelyn Nesbit. She turned this film and a forthcoming adaptation of the then-current Broadway musical 'The Girl in Pink Tights' (which was to co-star Dan Dailey and 'Mitzi Gaynor') and was put on suspension. Sheree North was then announced as her replacement for both films until Joan Collins was eventually cast as Nesbit. 'Girl in Pink Tights' was eventually abandoned. See more »

Goofs

In a scene in a restaurant near the beginning of the movie, architect Stanford White receives a copy of Collier's magazine with a drawing of Evelyn Nesbit on the cover, drawn by Charles Dana Gibson. The scene takes place in 1901, but the famous drawing was not created by Gibson until 1905. See more »

Quotes

Mrs. Nesbit: I've seen more tears run down the pretty faces than the plain ones.
See more »

Connections

Referenced in Norma Jean & Marilyn (1996) See more »

Soundtracks

Men, Men, Men
(uncredited)
Music by Lionel Newman
Lyrics by Ken Darby
Sung on-stage by the theater ensemble
See more »

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User Reviews

 
Trial Of The Century!?... I Hardly Think So.
25 June 2014 | by (New Zealand) – See all my reviews

Here's my guess as to why this 1955 "Trial-of-the-Century" drama (which highlighted the real-life Thaw-White murder case from 1906) failed to deliver a substantial enough wallop and, thus, hold onto this viewer's rapt attention.

It was because the real-life Evelyn Nesbit (who, at a much younger age, had played a pivotal part in this murder case) was now playing "technical adviser" on the set of this 1955 picture. And, as a result, nothing in the story could be filmed without her prior consent.

And because of this veto power that Nesbit (72 at the time) wielded, her youthful character in the story was white-washed, and made out to be the sweetest, most naive, little innocent bystander in the scheme of things.

And, on top of that, the sexual implications of Nesbit's torrid affair, at 17, with a man 3 times her age was down-played so unrealistically as to make it appear as if she and Stanford White were merely platonic friends.

As a result of all of this down-playing (at Nesbit's insistence) this film's story was virtually rendered flat and uninspired, with only shallow and apathetic performances given by all of its principal players.

I honestly believe that this 1955 picture could've been real dynamite story-telling had Evelyn Nesbit not had such a strangle-hold on its subject matter, as she adamantly insisted that her once ravishing "Gibson Girl" image remain intact, thus making certain that she was portrayed as the absolute epitome of "Turn of the Century" innocence.

Directed by Richard Fleischer (a fairly notable director), this disappointing melodrama suffered, as well, from a curious lack of essential close-ups.


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