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The fashion industry and Paris provide the setting for a comedy surrounding the mistaken impression that Joanne Woodward is a high-priced call girl. Paul Newman is the journalist interviewing her for insights on her profession.
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Ben Quick arrives in Frenchman's Bend, MS after being kicked out of another town for allegedly burning a barn for revenge. Will Varner owns just about everything in Frenchman's Bend and he hires Ben to work in his store. Will thinks his own son, Jody, who manages the store, lacks ambition and despairs of him getting his wife, Eula, pregnant. Will thinks his daughter, Clara, a schoolteacher, will never get married. He decides that Ben Quick might make a good husband for Clara to bring some new blood into the family. Written by
Lisa Grable <email@example.com>
I saw this film again last night at an old-time movie palace, in an audience of about 2,000 people. The film, which I had seen before, was even more enjoyable then the previous times I had seen it on TV. For one thing, it has some very lovely and well executed uses of the CinemaScope frame. It shows both the dry openness of the landscape, as well as the lush extravagance of the plantation estate which belongs to Orson Welles' character. I'm not too familiar with Faulkner's stories, but the plot elements of this film flow together rather nicely, and there isn't really a dull moment in the whole picture. The only part which is still difficult for me to take, is the resolution of the conflict between Welles' and Franciosa's characters. That scene builds up to something in a matter of minutes, and then suddenly it's over. I could hear disappointment in some audience members in the theater as well, including one person who shouted "What the heck was that about?". This aside, it's still a worthwhile film to see, and the acting of Newman, Woodward, and Welles are standouts. There are also plenty of (probably unintentional) laughs to be had as well. One of the better soap opera-type films to come out of the late 1950s.
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