The residents of Peyton Place, New Hampshire, are not happy when its most famous resident, Alison Mackenzie, writes a "shocking" novel detailing the sinful secrets of the town. Most ... See full summary »
The residents of Peyton Place, New Hampshire, are not happy when its most famous resident, Alison Mackenzie, writes a "shocking" novel detailing the sinful secrets of the town. Most outraged is malicious Roberta Carter, who wants the book banned from the school library. Roberta's other mission is to destroy her son Ted's marriage to his Italian bride. Theirs, however, isn't the only marriage in trouble: Alison's book is causing a rift between her mother and stepfather, who is also the school principal and one of the book's few defendants. Written by
Daniel Bubbeo <email@example.com>
Producer Jerry Wald - notorious for announcing any possible casting choice that crossed his mind in order to keep his projects in headlines during pre-production - also mentioned Jessica Tandy, Margaret Leighton and Ginger Rogers as possibilities to play role ultimately played by Mary Astor. See more »
In this sequel, Ted Carter is not only wealthy but has a controlling mother. In the first film, Ted had to work and save for law school, and his parents were not featured in the original. It was Norman Page who had a domineering mother in the first film. See more »
On the big, wide CinemaScope screen of the Fox Village Theater in Westwood, in West Los Angeles, California, where I saw this one first-run, I settled in with some rather high expectations as the lovely theme song was beautifully sung by Rosemary Clooney, while stunning vistas of New England beauty followed one another over the opening credits.
Alas, my hopes were quickly dashed and, as other IMDb comments attest, this followup to the very successful "Peyton Place" was a severe disappointment in most respects. The handsome cast was strangely set adrift amidst some rather drab production values and only Mary Astor was given enough to do and was allowed to do it well as the town's tyrannical matriarch. Her final scene is an example of an actress still in full command of her powers convincing an unwilling cinema audience (though not her fellow townspeople on screen) that being a prude and a social snob is a desirable way to live one's life!
Jose Ferrer as a director was never much of a visual stylist so the VHS tape of this CinemaScope production, most probably not letterboxed, might satisfy the curious who want to see an example of studio product that was mired in a soon to be abandoned estimation of what audiences of that day really wanted to see.
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