Charlie Reader is a successful theater agent. He is also successful with young ladies. One day he is visited by his old friend Joe, married with three children. Joe falls in love with ... See full summary »
A business tycoon decides to wed a Middle Eastern princess whose customs dictate the pair must live apart for several months before marrying; even more complications settle in when the tycoon's ex-fiancée is assigned to chaperone the pair.
Tom Lee is a sensitive boy of 17 whose lack of interest in the "manly" pursuits of sports, mountain climbing and girls labels him "sister-boy" at the college he is attending. Head master ... See full summary »
Chronicles the life of queen Elizabeth I, before she became the queen of England. Apart from taking part in the court intrigues, she is unhappily in love with admiral Thomas Seymour, and dreams of building a navy to match the Portuguese and the Spanish.Written by
This was young Rex Thompson's film debut as Prince Edward/King Edward VI. He turned in a truly engaging performance as the ill-fated young King of England, remarkable considering he was only eleven years old, and was not British but a native New Yorker. See more »
In the shot showing Elizabeth leaving Whitehall after Edward becomes king, her carriage becomes transparent (due to the matte painting of trees and sky behind it). See more »
[referring to her involvement in little Elizabeth's birth]
But Henry, didn't I have a hand in it?
King Henry VIII:
[smiles wickedly at Anne]
King Henry VIII:
But I gave you the idea.
[laughter from Anne and the courtiers]
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Its historical inaccuracies aside (including its scrubbed and polished depiction of a far less sanitary time, even, most probably, amidst the pomp and pageantry of the royal court), this costume romance is typical of the very carefully produced and handsomely mounted style of M-G-M in the waning days of its preeminence among the major Hollywood studios. Its well-chosen cast performs most satisfactorily under George Sidney's assured direction and the artistic and technical credits are impeccable, notably the art direction and the almost absurdly luxurious costuming. This film was nominated in the color categories for those two contributions and, most unjustly in my opinion, lost out to Twentieth's first CinemaScope blockbuster, "The Robe," in both cases. The prolific Miklos Rozsa provides one of his more sprightly scores, deftly enhancing the script's focus on the romantic entanglements of the principals. Still, enough attention is paid to the great peril of being close to the apogee of power in England at the time. Throughout a sense of dread pervades the audience's hope that Young Bess might actually survive to realize her dream of a love fulfilled.
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