To Laura Hammond's large family, she is simply the mother who makes all their lives run more smoothly. But although they don't know it, she is a very successful novelist.

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Cast

Cast overview, first billed only:
Phyllis Calvert ...
Laura Hammond
Patrick Barr ...
Charles Hammond
Susan Stephen ...
Tessa Hammond
...
Stephen Hodgson
Jean Taylor Smith ...
Grannie
Sarah Lawson ...
Anne Hammond
Delphi Lawrence ...
Mrs. Madge Dixon
Peter Hammond ...
Tony
Richard Leech ...
John Hammond
Robert Ayres ...
Leroy Crane
Peter Illing ...
Guggenheimer
Stanley Maxted ...
Lee Sax
Irene Handl ...
New Neighbor
Barbara Cavan ...
Nurse Johnson
John Fernald ...
Producer
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Storyline

To Laura Hammond's large family, she is simply the mother who makes all their lives run more smoothly. But although they don't know it, she is a very successful novelist.

Plot Summary | Add Synopsis

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Pandemonium in a Slap-Happy Family...

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Comedy

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Release Date:

2 September 1958 (USA)  »

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(Eastmancolor)

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1.37 : 1
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Connections

Version of It's Never Too Late (1954) See more »

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User Reviews

 
Enjoyable fifties family comedy
23 February 2016 | by (United Kingdom) – See all my reviews

Phyllis Calvert has her hands full as Laura Hammond the mum that everyone relies on. Her middle-class family, all living together, include her irascible mother, stepdaughter Tessa (Susan Stephen) a drama queen in more than one sense; also stepson John (Richard Leech) and his wife (Sarah Lawson) who have a baby and enjoy throwing household objects at each other at regular intervals. Her older husband (Patrick Barr) seems at his most active when reading the paper, but still manages to attract the attention of the attractive single lady next door. They all take Laura for granted, but don't realise that her 'scribbling' whenever she gets the odd five minutes from the chaos surrounding her, has produced a best-seller. Enter a literary agent (Guy Rolfe) who whisks her off to the US to work on a film script.

Of course, the conventions of the Fifties dictate that the traditional order has to be restored in the end, and though the ways in which all is resolved tend toward the predictable, there's considerable fun along the way. The early scenes, mainly confined to one set, are smoothly directed by Michael McCarthy, who was sadly to suffer an early death. The colour photography is excellent. Phyllis Calvert might not always have been convincing as the heroine of exotic melodramas, but as a woman like Laura in a comedy of this nature, she couldn't be bettered. Nothing bears any resemblance to life today, but then that's not the least of the film's charms.


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