Diana Leslie is rescued from drowning by reporter Chris Williams. The latter believes it is an attempted murder rather than the suicide indicated by a note, since the girl had made an ...
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At a convention, medical researcher Michel Touzac goes with colleagues to see stage caricaturist Targel, whose assistant Florence recognizes him...and attempts suicide. Saved by Touzac's ... See full summary »
Conceited war correspondent Steve Kimball, desperate to get back to the USA from occupied Paris, reluctantly agrees to chaperone a troupe of stranded, teenaged hepcat entertainers. Plus ... See full summary »
Diana Leslie is rescued from drowning by reporter Chris Williams. The latter believes it is an attempted murder rather than the suicide indicated by a note, since the girl had made an appointment to meet him at the dock. The story is told in flashback as Williams visits the people who know Diana. The parents feel responsible as, against their wishes, Diana had accompanied musician Jimmie Lobo to the Kitten Club and had gotten a job as a singer but they had not seen her following an argument when she came home that ended with her being slapped by her brother Ted. One of the Kitten Club showgirls, Flo tells Chris that when Diane came to the club for an audition, she incurred the wrath of the heavy-drinking featured singer Marianne Mason and club owner Steve Raymond delegated her to the hostess ranks of girls whose job was to steer customers to the illegal gambling. This led to a couple of suckers, Wilbur Harris and Ed Blake, losing heavily in the crooked game with Harris committing ...Written by
Les Adams <email@example.com>
Why Girls Leave Home does, in fact, exist. It isn't shown much, but it is, assuredly, not lost. I know of (and have seen) a 16mm print of it, currently in the hands of a private collector in Pennsylvania. The print was made shortly after the film's theatrical release, probably for the rental market. Quite likely there are others around as well, and it may also have turned up on early television. As far as the quality of the film itself: It's a tough, pretty well-paced little movie, with above-average production values for this studio. Livingston and Evans's Oscar-nominated song is very entertaining and, not surprisingly, the cast is filled with pros. Pamela Blake is more than adequate (if a shade mature) as the innocent heroine, Virginia Brissac (who played mother roles in, seemingly, thousands of movies) gets one of her biggest parts here, and Sheldon Leonard, Elisha Cook and, especially, Lola Lane are better than good. (Lane has a great scenery-chewing moment in the homestretch.) Too bad that it's so little-seen today, because it's definitely one of the best PRC efforts.
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