A struggling young actress with a six-year-old daughter sets up housekeeping with a homeless black widow and her light-skinned eight-year-old daughter who rejects her mother by trying to pass for white.
The story of a young woman, Helen Banning, who travels to Munich in search of life experience and romance. While working for America House, she meets a famous symphony conductor, Tonio ... See full summary »
In 1944, a company of German soldiers on the Russian front are numbed by the horrors and hardships of war when Private Ernst Graeber's long awaited furlough comes through. Back home in ... See full summary »
Clifford Groves, toy manufacturer, is in full charge at the factory but feels left out and taken for granted by his wife and children at home. Alone and depressed, he meets old flame Norma, and one thing leads to another. While their relationship is still fairly innocent, his son Vinnie sees them together and suspects the worst. It's time for tortured souls behind rain-streaming windows... Written by
Rod Crawford <firstname.lastname@example.org>
Near the end of the film, Cliff bumps the toy robot on the table, starting it walking towards the camera and he walks back to the shop window. The camera starts tracking forward and as the toy robot is walking forwards out of the shot, bottom left, the shadow of the camera falls across the toy robot. See more »
Norma Miller Vale:
Love is a very reckless thing. Maybe it isn't even a good thing. When you're young and in love, nothing matters except your own satisfaction. The tragic thing about growing older is that you can't be quite as reckless anymore.
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Sirk aptly deals with basic family values and problems in a critical way, questioning the false appearance of stability and harmony of a typical American home. MacMurray's job in a toy factory provides plenty of interesting metaphors, often visual ones. In one scene Sirk even places 'Rex, the Walkie-Talkie Robot-Man' on the foreground, upstaging MacMurray and forcing a comparison between them. MacMurray's home, under the resemblance of a happy and harmonious family life, really seems like a big doll's house MacMurray being here a sort of male 'Nora'. The happy ending seems a bit awkward or phony, but it's what audiences were taught to expect back in the 50's; no other ending would have been allowed under the infamous Production Code, then still being enforced.
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