Tom Lee is a sensitive boy of 17 whose lack of interest in the "manly" pursuits of sports, mountain climbing and girls labels him "sister-boy" at the college he is attending. Head master ... See full summary »
Captain Wade Hunnicutt is the wealthiest and most powerful citizen in his Texan town; he is also a notorious womanizer, which has turned his wife Hannah against him. She has brought up ... See full summary »
Charlie Reader is a successful theater agent. He is also successful with young ladies. One day he is visited by his old friend Joe, married with three children. Joe falls in love with ... See full summary »
Critics and the public say Karen Stone is too old -- as she approaches 50 -- for her role in a play she is about to take to Broadway. Her businessman husband, 20 years her senior, has been ... See full summary »
In wartorn London Maurice Bendrix falls in love with neighbor Sarah Miles. They begin an illicit romance behind Sarah's husband's back. While war does not last forever, neither does love in... See full summary »
Princess Beatrice's days of enjoying the regal life are numbered unless her only daughter, Princess Alexandra, makes a good impression on a distant cousin when he pays a surprise visit to ... See full summary »
Jocko De Paris, cadet leader in a Southern military academy, so manipulates events that George Avery, Jr., son of the school's executive officer, is found drunk and expelled. Through ... See full summary »
Peter Mark Richman
In this sequel to Father of the Bride (1950), newly married Kay Dunstan announces that she and her husband are going to have a baby, leaving her father having to come to grips with the fact that he will soon be a granddad.
Tom Lee is a sensitive boy of 17 whose lack of interest in the "manly" pursuits of sports, mountain climbing and girls labels him "sister-boy" at the college he is attending. Head master Bill Reynold's wife Laura sees Tom's suffering at the hands of his school mates (and her husband), and tries to help him find himself. Written by
Ron Kerrigan <firstname.lastname@example.org>
After Tom's roommate Al hangs up with his father, he goes downstairs to tell Ms. Reynolds he will be moving out. The shadow of the moving boom mic is clearly visible between Ms. Reynold's door and the pay phone in the hall. See more »
Those who had the good fortune to see Deborah Kerr onstage in the Elia Kazan production of "Tea and Sympathy," will attest to her unforgetable performance. Kerr not only played it on Broadway but also toured with it, a treat for all attendees. Now nearly a half century later, her performance on film, which was very much influenced by her stage style, begins to show a little wear around the edges. It must be difficult to change one's approach after having played a role so successfully night after night. In this case, her inflections, accents, phraseology, pauses, gestures and the like are essentially theatre-based, designed to play to the whole house up to the balcony. In the intimacy of film, this becomes a bit much in the long run, and results in a much more broad, deliberate and stylized Kerr than in any of her other film work. Her character tends to emerge now more as a busy-body, snooper, peeping tom than was ever intended, and certainly it did not come across that way when the film was first released. A landmark film of sorts--for a major studio to tackle a sensitive subject in a major production--"Tea and Sympathy" benefits from a sincerely written script by Robert Anderson, solid direction by Vincent Minnelli and a secure supporting cast. Visually Deborah Kerr is beautiful, and is totally committed to both the play and her role. During her lengthy film career, Kerr certainly contributed a wealth of finely crafted performances.
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