Grace hastily marries a French aristocrat during WWII, but is separated by circumstance from him for almost nine years. And when reunited, Charles's philandering causes them to divorce and ... See full summary »
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 »
It's the early days of the F.B.I. - federal agents working for the Department of Justice. Though they've got limited powers - they don't carry weapons and have to get local police approval ... See full summary »
Gar Evans is a "high pressure" promoter who tends to be unrealistically optimistic about his projects and exaggerates the chance of success. He sets up the "Golden Gate Artificial Rubber ... See full summary »
Victor Norman is just out of the service and looking for a job in advertising. By playing hard to get, he figures that he can get a good job and a large salary. The first thing he has to do is get a war widow to endorse Beautee Soap - a client of the Kimberly Agency. He meets with Kay Dorrance and gets the endorsement and Mr. Evans, the head of Beautee Soap is temporarily happy. Victors job is now to work with Mr. Evans, a man who is a strict and demanding client. Everything should be rosy, but Victor, a bachelor, finds himself more attracted to Kay, a widow, than young single Jean Ogilvie.Written by
Tony Fontana <firstname.lastname@example.org>
Even in 1947, there were "fears about reprisals from MCA" over the portrayals of Jules Stein and Lew Wasserman, and Vic says on several occasions that "Dave Lash is an honest man" when the dispute arises over the Buddy Hare contract. The other problem was Lash/Stein's ethnicity: in the novel, Vic tells Lash people will call his honesty into question because he is a Jew; Luther Davis removed all references to Lash's ethnicity and made him a kid who had been in trouble but had "gone straight" and succeeded. See more »
At the Kimberly's apartment, Kay sits at the opposite end of a couch from Mrs. Kimberly. In the next shot they are sitting side by side. See more »
This is a pretty poor movie overall, particularly in its overblown romantic scenes with Lennie Hayton's syrupy MGM strings pounding out the emotions. Its best moments, and there are many, must come from Fredrick Wakeman's 1946 novel—at its time one of the first exposés of the advertising and talent agency business. Most of the screenplay seems watered down by today's standards, most likely sanitized not to offend two of Hollywood's power brokers, Leo Stein and Lou Wasserman of MCA, said to be the prototypes. On the other hand, if you have ever wondered why Ava Gardner in her first major part broke Sinatra's heart when she left him, just take a look at her under Harold Rosson's soft-focus big studio glamor lighting. At the time the picture was made she was twenty-five year's old and absolutely ravishing! Deborah Kerr, playing a stereotypical upper-class Englishwoman, simply can't compete with the gorgeous Ava; Deborah has very little to do here other than to be vedy vedy British and the voice of Integrity. There are some wonderful on- the-nose scenes about the biz, however, with Edward Arnold and Adolphe Menjou, perfectly cast and doing what they did so superbly film after film, to say nothing about the great Sydney Greenstreet at his most gross physically and morally. But it is Keenan Wynn who walks away with the picture, playing a thoroughly obnoxious and untalented stand-up comic with jokes so bad that even Milton Berle wouldn't have stolen them. It takes great talent to make someone so bad seem good.
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