Word: girls
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Dates: during 1950-1959
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...mentioned in Early Havoc, when June bounced from other marathons to modeling, from soap operas to summer stock, before she broke into lights. June's final judgment of her Early Havoc: "I had learned a lot. I would be careful of everybody and everything . . . You can take the girl out of vaudeville, but you can't take the vaudeville out of the girl...
...story falls into the predictable triangular pattern, which soon resolves into the predictable eternal question: Which boy will get the girl? In this instance, the answer is intended to answer the race question, but since Actor Belafonte's skin seems just about as light as Actor Ferrer's, the audience may justifiably wonder if the question itself is not almost academic. Anyway, black boy gets white girl-or seems to. But then in the confusing finish (which was reshot after a big front-office foofaraw), all three wander off together hand in hand-with the girl...
...film version of a popular novel by Richard Powell, is a sort of updated Kitty Foyle that has lost its wit and is fumbling for a moral: social status isn't everything. As in Christopher Morley's 1939 bestseller, the story tells what happens when a Philadelphia girl (Diane Brewster) tries to go beyond her station on the well-known Main Line. She marries into one of the very best families, but on her wedding night discovers that the blue blood has run pathetically thin. Frightened and confused, she flies back to the arms of her redbrick-Irish...
...does. He goes to Princeton, falls in love with a rich girl (Barbara Rush), joins the town's top law firm, and rises rapidly up the shingle toward a partnership. The hitch comes when he realizes that in advancing his worldly status, he has neglected his spiritual state. For a moment there, it looks as if the picture is going to make an honest if not very original point. But before anybody can say Fish House Punch, the script gives the hero a splendid opportunity to save his soul without losing any money...
...strong scent of social science in Venice West, and Lipton relates that all beatniks possess paperback editions of Margaret Mead. Love among the far out is casual and kaleidosexual, but just as among the savages of Samoa, there is a code. Said one beard, explaining why he rejected a girl's advances: "At the time, I was going with my wife." Beatniks prefer not to work, and when forced to, try to find employment suitable to their talents -such as deodorant testing for cosmetics firms. Shoplifting is only a stopgap...