Based on Polly Adler's best-selling autobiography about her life in the Roaring Twenties as a legendary Madam. The movie follows Polly's life from an immigrant worker to becoming friend and...
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George P. Cosmatos
When four geologists who form a combine of five industrial companies are murdered, a trouble-shooter is hired to find himself in a net of deadly intrigue and treachery. The prize: a field to be leased to private industry by the state.
Francis D. Lyon
Based on Polly Adler's best-selling autobiography about her life in the Roaring Twenties as a legendary Madam. The movie follows Polly's life from an immigrant worker to becoming friend and confidante of underworld bigwigs, social leaders, businessmen, politicians, writers and artists. Written by
The problem I found with A House Is Not A Home is that it was made at the worst time possible. Ten to fifteen years earlier the cast would have been better suited for their roles. Ten to fifteen years later and the Code would have been gone and a more honest film might have emerged.
Shelley Winters a tad younger would have been perfect casting in the part of New York City's famous bordello madam. Still she does the best she can with the part. Folks like Robert Taylor, Cesar Romero, and Broderick Crawford are too old for the roles they played and show it. Romero plays Lucky Luciano who was in his late thirties when Thomas E. Dewey sent him to prison not in his fifties as Romero is, distinguished as he always looked.
According to The Films of Robert Taylor, he was not happy with his work here, but took the role because he had a young family to support. And a more brutally honest film was something he'd never have consented to appear in anyway.
Some young actresses who played Polly's girls gave some over the top performances. Understandable they didn't have careers of any substantial length.
A House Is Not a Home will not be remembered by Robert Taylor's fans as one of his great films and it was a bad bump in the road in the career of Shelley Winters.
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