Cliff Barton, an American business executive working in England, wants to marry European refugee Miriam Linka, but he is warned by his boss that such things just aren't done. Cliff digs in ...
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Robert Taylor and Eleanor Parker star as a Kentucky backwoodsman and the woman who will NOT let anything interfere with her plans to marry him in this humorous romantic adventure through the American Frontier of 1798.
Steve Sinclair is a world-weary former gunslinger, now living as a peaceful rancher. Things go wrong when his wild younger brother Tony arrives on the scene with his new gun and pending bride and former saloon girl Joan Blake.
Deprived of a normal childhood by her ambitious mother, Katie, Lillian Roth becomes a star of Broadway and Hollywood before she is twenty. Shortly before her marriage to her childhood ... See full summary »
Based on Polly Adler's best-selling autobiography about her life in the Roaring Twenties as a legendary Madam. The movie follows Polly's life from an immigrant worker to becoming friend and... See full summary »
Cliff Barton, an American business executive working in England, wants to marry European refugee Miriam Linka, but he is warned by his boss that such things just aren't done. Cliff digs in his heels and eventually finds support from his less hidebound fellow executives.
The aircraft depicted as bringing Mr. Carew and others from London to the U.S. is a 1950 Boeing 377 Stratocruiser, registration N90948, named "Clipper Mandarin". It was removed from service in 1960 and sold to the Israeli Air Force in 1962. It has since been preserved at the Israeli Air Force Museum. See more »
The entire film from minute 10 to minute 20 is reversed, as revealed by (1) the backwards lettering in the London establishing shot and the signs visible in the back window during Cliff's taxi ride with his father, (2) male characters shaking hands with their left hands, and (3) breast pocket handkerchiefs appearing on the wearer's right side in this section and the traditional left side in all other parts of the film. It is first noticeable when the taxi pulls up to the Everett's apartment - the lettering of "36 Sutton Place" on the awning is reversed. It ends when Cliff Barton leaves Mr. Carew's office in London. It's as if the second reel of the film was printed reversed for some reason. See more »
You dimwit, the doorbell is ringing. The doorbell is ringing! You... you turned off your hearing aid on me! You did it again!
[Throws her drink in his face]
You turned your hearing aid off on me! The kind of guy that turns his hearing aid off on his own wife! You stupid... Oh, Mr. Barton!
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A Superior Film of Ideas From MGM; a Very Capable Drama
This is a very "glossy" film in some ways, but it is also filled with well-developed characters. And because they are all well-acted and clearly presented in a dual-stranded storyline, they become very contexted and hard-to-forget. The script is by Robert Ardrey adapted from Howard Swiggett's fine novel. This is a another postwar film like many others that talks about values, and the sort of place the US needs to become--or unfortunately seemed to be becoming. The main characters in this plot are involved with a major international firm; the head of this firm, ably played by Burl Ives, is trying to consummate a deal with a British firm's leaders headed by Cedric Hardwicke. He also has a scheme in mind to cheat his partners, which finally does not sit well with his heir-apparent, played quite intelligently and straightforwardly by Robert Taylor. Complicating the plot for Taylor is his growing regard for a refugee played beautifully by Elisabeth Mueller. An act of courage by Taylor finally resolves the plot nicely; the moral crisis of the film becomes its climax, which gives it unusual power. The cast is very good indeed, with Mueller, Hardwicke, Ben Wright, Richard Erdmann and others also turning in very fine work. The film is B/W as a drama should be, and its values are very fine, thanks to work by MGM's best--Edwin Willis, Sidney Guilaroof and costumer Helen Rose. Music is by Bronislau Kaper with the director, Henry Koster, doing a first-rate job in a film featuring many interior-scenes and little outdoor work. Films about business are one way thinkers have of examining what is right and wrong with the United States' citizens approaches to making their constitutional ideas about individualism work; this work, except for the religious connections of Taylor's father, in my judgment a needless addition, is honest. I cannot recommend this unexpected little gem too highly.
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