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 ...
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At an exclusive psychiatric clinic, the doctors and staff are about as crazy as the patients. The clinic head, Dr. Stewart McIver, thinks that it would be good therapy for his patients to ... See full summary »
Toward the end of his life F. Scott Fitzgerald is writing for Hollywood studios to be able to afford the cost of an asylum for his wife. He is also struggling against alcoholism. Into his life comes the famous gossip columnist.
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Soldier Joe Allen is on a two-day leave in New York, and there he meets Alice. She agrees to show him the sights and they spend the day together. In this short time they find themselves ... See full summary »
A grandmother seeks a governess for her 16 year old granddaughter, Laurel, who manages to drive away each and every one so far by exposing their past, with a record of three in one week! ... See full summary »
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 <email@example.com>
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 »
When I was a kid here in this school, I've had my problems too. I used to sit in my room and listen to phonograph records hour after hour. I had a place where I used to go and cry my eyes out.
But I've got over it, Laura. I learned how to take it. Now when the headmaster's wife gave you that silver teapot, she told you what she tells all of the other master's wives that you've got to be an interested bystander.
Yes, yes, I know.
Just as she says, Laura. All you're supposed to do is ...
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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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