The once-great Lorrimore family faces bankruptcy unless older son Brighton marries wealthy Edith Gilbert. When Brighton instead returns from a trip with his new wife Phyllis, she receives a...
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The once-great Lorrimore family faces bankruptcy unless older son Brighton marries wealthy Edith Gilbert. When Brighton instead returns from a trip with his new wife Phyllis, she receives a cool reception from his family. Phyllis wants Brighton to pursue his dream of being a writer, but Mrs. Lorrimore sees to it that he gets a high-pressure job that he's totally incapable of handling. She also arranges for Phyllis to spend a lot of time with Brighton's boss in order to advance Brighton's career.Written by
Daniel Bubbeo <email@example.com>
How did this Goldwyn production ever sneak past the Hays Office? It's a frank drama of a once-wealthy but now-bankrupt New York family, still living in a Fifth Avenue mansion, whose hopes are pinned on son Joel McCrea's marrying a wealthy girl he doesn't love. Instead he returns from a Southern journey with impoverished bride Miriam Hopkins, who's snubbed by the family, and who captivates a wealthy cousin, Paul Cavanagh, who will hire and overpay McCrea if she'll sleep with him. It's quite frank about that, and to watch Hopkins balance pride, guilt, and ambivalence is a pre-Code-like treat, though she does tend toward the actressy, self-serving side. Helen Westley, often one-dimensional, is a multilayered and quite frightening monster-mother, alternately loving and manipulating her children, who also include a young David Niven, here an entertaining wastrel, who has a British accent and we don't know where it came from. It's elegantly produced and quite well directed by Elliott Nugent,also an actor, who usually wasn't this comfortable in the director's chair. Quite an eye-opener, and, though the contemporary reviews weren't good, quite entertaining today.
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