Aggiungi una trama nella tua linguaA look at how his parents' divorce affects the life of a young boy.A look at how his parents' divorce affects the life of a young boy.A look at how his parents' divorce affects the life of a young boy.
Georgie Billings
- Boy Entering School Yard
- (non citato nei titoli originali)
Harry C. Bradley
- School Principal
- (non citato nei titoli originali)
Tommy Bupp
- Boy Waiting to Play Baseball
- (non citato nei titoli originali)
Eddie Fetherston
- Court Clerk
- (non citato nei titoli originali)
Lloyd Ingraham
- Doctor
- (non citato nei titoli originali)
Sidney Kibrick
- Boy Waiting to Play Baseball
- (non citato nei titoli originali)
- Regia
- Sceneggiatura
- Harry Sauber
- Earle Snell
- Robert Meller(non citato nei titoli originali)
- Tutti gli interpreti e le troupe
- Produzione, botteghino e altro su IMDbPro
Trama
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- QuizThe earliest documented telecast of this film in New York City took place Sunday 14 May 1950 on WPIX (Channel 11).
Recensione in evidenza
Thank Goodness They Have Dickie Moore To Show Them The Error Of Their Ways!
Martha Sleeper goes with son Dickie Moore to see her husband, John Miljan at his office. He's leaving to go for the weekend with his girlfriend, Gloria Shea. Young Dickie asks some pointed questions that cause Miss Sleeper to consider divorce. On the advice of her lawyer, she separates, taking Dickie with her. Eventually, however, Miljan gets the boy for six months. He hires Franklin Pangborn (aka "that big sissy") as his tutor.
With the rise of the Production Code, this movie could not be as frank as earlier movies about divorce could be. Instead it casts the players in stock roles: the villain (Miss Shea); the clueless stiff (Miljan); and the wronged and noble victim (Miss Sleeper), with a little child to eventually lead them. It disapproves of all the things the Code demanded disapproval of, with a stock reconciliation. Despite real talent among the players (including Jane Darwell as the Irish cook), director Charles Lamont seems to be best at directing the sequences with large numbers of children, which are a lot of fun. As a serious drama, though, it lacks much of a sense of reality.
With the rise of the Production Code, this movie could not be as frank as earlier movies about divorce could be. Instead it casts the players in stock roles: the villain (Miss Shea); the clueless stiff (Miljan); and the wronged and noble victim (Miss Sleeper), with a little child to eventually lead them. It disapproves of all the things the Code demanded disapproval of, with a stock reconciliation. Despite real talent among the players (including Jane Darwell as the Irish cook), director Charles Lamont seems to be best at directing the sequences with large numbers of children, which are a lot of fun. As a serious drama, though, it lacks much of a sense of reality.
D’aiuto•40
- boblipton
- 17 lug 2019
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By what name was Tomorrow's Youth (1934) officially released in Canada in English?
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