A wealthy American has a chance encounter with a joyful young French woman, and anonymously pays for her education. She writes letters to her mysterious benefactor, nicknaming him from the description given by some of her fellow orphans.
On a trip to France, millionaire Jervis Pendleton sees an 18 year old girl in an orphanage. Enchanted with her, but mindful of the difference in their ages, he sponsors her to college in New England. She writes him letters, which he doesn't read. After 3 years, he goes to visit her at a dance, not telling her that he is her benefactor. They fall in love, but the usual movie-type difficulties get in the way before they can get together at the end.Written by
John Oswalt <firstname.lastname@example.org>
In a scene between Griggs and Pendleton, Pendleton, seated at the drum kit, points a drum brush at Griggs and then drops his hand as Griggs walks past him. In the immediate next closer shot of Pendleton, his arm is still raised with the drum brush pointed at Griggs. See more »
Masterfully choreographed, lush visual style, and charming script
This is one of the best films I've seen in quite some time. The dance sequences were used beautifully to further the story and flesh out characters. Astaire and Caron have great chemistry, overcoming the age difference of the characters. And Caron is with Astaire on every step of the dance sequences.
Unlike some dance-heavy, Astaire-vehicles (like An American in Paris in some places), this film's dance sequences do not drag down the plot or flow of the film. To the contrary, they are delightful-- and I'm generally not one for these kinds of films.
I have to say that I wasn't engaged throughout the entire film. But I really think this is more a matter of generation gap than quality of cinema. It's relatively long for a fairly simple story, and thus takes some patience to watch all the way through. However, I believe it's worth it for more thoughtful viewers and lovers of '50s films and dance.
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