This film has a memorable opening sequence: under the credits, we see a cab driving slowly through the deserted streets of a small town, to the accompaniment of Bronislau Kaper's haunting theme. It sets the tone of the whole film, which is about longing. (The theme was re-used in "Invitation.") Several years earlier Kaper had written another beautiful theme for Turner's "Green Dolphin Street." Turner does very well in a role that one feels may have had a certain resonance for her: when her Lily talks about the emptiness of her life as a model, one senses that the actress really drew upon thoughts of her own life. Somewhat paradoxically she is presented with ugly hair styles and dresses that were presumably meant to imply elegance.
The early scenes in the office of the modeling agency have a nice fluidity and capture the controlled chaos of the milieu. Cukor brings vivid performances from Tom Ewell and Jean Hagen (both of whom he directed in "Adam's Rib") and especially Ann Dvorak. The shattering of the porcelain shoe at the end of the film is a kind of reversal of the Cinderella slipper idea, and is emblematic of the fact that Lily's life is indeed her own, and not dependent on any kind of prince charming for meaning.
The early scenes in the office of the modeling agency have a nice fluidity and capture the controlled chaos of the milieu. Cukor brings vivid performances from Tom Ewell and Jean Hagen (both of whom he directed in "Adam's Rib") and especially Ann Dvorak. The shattering of the porcelain shoe at the end of the film is a kind of reversal of the Cinderella slipper idea, and is emblematic of the fact that Lily's life is indeed her own, and not dependent on any kind of prince charming for meaning.