A couple finds a baby on their doorstep with a note asking them to temporarily keep it. They take the baby in and care for it as if it were their own. But what if the baby's mom really returns to claim it?
Robert Allan Ackerman
An abused battered wife has had enough of husband beating up on her. Everywhere she turns for help, there's not much anyone will do. After he rapes her one night, she sets the bed on fire with him in it asleep.
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Just when her sister and her fiancé are planning to sell their late father's North Carolina farm, philanderer Frannie Vaughn, whom they couldn't even reach for the funeral, returns. She prevents the sale and flippantly decides to turn it into a pig farm, without any know-how. Meanwhile she makes life livelier and harder for anyone in the factory where her sister gets her a job she soon messes up, but thus finds a partner in foreman Ruben, standing by him when disaster strikes. Written by
Inconsistently developed and predictable...but with pleasant moments and a star-turn from La Fawcett
Lawrence Naumoff's book turned into a sketchy, meandering vehicle for star Farrah Fawcett, playing a ne'er-do-well good-time girl who pops into her rural hometown only to find she's missed her beloved mama's funeral and that her sister is planning to sell off the old homestead. She decides to work at the local factory and buy sis out, and catches the eye of the hunky foreman (who looks like a clean-shaven Kris Kristofferson in his youth). Up to this point, the TV-made "Silk Hope" has some drive and a rousing character in Fawcett's Frannie Vaughn, but though the dialogue is smart and has a truthful edge, the plot manages to get all balled up. Frannie is supposed to be flighty and irrational, but how she thinks making pocket change at the factory (or starting a pig farm) will help her win the house back is never explained. When Farrah digs deep as an actress, she's more than capable of bringing out a forthright woman who doesn't take baloney from anybody, but too often here she slips into a little girl act (with a light, tinkly voice); in her quieter moments she's very good, and very attractive (if rail-thin), and she's really the only reason to watch the movie. The bumpy narrative darts about from one half-finished sequence to the next, including the proverbial county fair, the emergency at the factory, a crisis in the family, a hunt for Daddy who's been missing for ages, and Frannie standing up to her bosses at work as if she were Eleanor Roosevelt. It just doesn't wash, but then it probably wasn't meant to be an incisive, dramatic entertainment...just a piece of fluff.
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