The country was in the final stages of the second world war when Warner Brothers cast Ida Lupino in this melodrama which includes music and crime elements. Ann Sheridan was the intended star but was working on other projects, so it went to Miss Lupino. In some ways it is similar to NORA PRENTISS which Sheridan made at this time...and both films feature Robert Alda as a refined mobster who runs a nightclub.
Mr. Alda never gets the girl in these pictures, though he tries hard. Usually the women in his orbit end up with more noble suffering men- in this case one played by Bruce Bennett.
Miss Lupino portrays the main character, a lounge singer who travels from Manhattan to Long Beach for an impromptu family reunion. While she appears in the majority of scenes, plenty of screen time is allowed for us to get to know the others.
The film has a rather large extended cast. Chief among the supporting players is Andrea King as Lupino's married sister whose husband (John Ridgely) has seen better days. A war veteran, he's experiencing PTSD and is currently staying at a mental hospital.
In addition to King, there is another sister (Martha Vickers) and a brother (Warren Douglas)- two young adults not more than kids really, on the verge of making bad choices. The brother especially needs guidance; he is working for Alda and an associate (Alan Hale) at the club and occasionally handles delicate "business."
There's a couple (Dolores Moran and Don McGuire) who live across the hall from King's apartment. They just had twins, but the wife is already running around with other men because domestic life isn't for her. Noticing the chaos in everyone's lives, Lupino decides to extend her stay and makes it her mission to get them all back on track. At the same time she is hired to sing at Alda's club.
Bennett's character is introduced into the story in a highly imaginative way. He has been arrested when Lupino's kid brother pins a crime on him. Lupino goes to bail the guy out, trying to undo the mistake her brother made. Outside the precinct Lupino and Bennett get to know each other. He was foreshadowed earlier in the movie when Lupino's character off-handedly mentioned the name of a jazz pianist she never met but whose music she's always admired.
When they cross paths, they discuss common interests. Soon she becomes smitten with him. But two obstacles stand in the way of a possible relationship- Bennett's insecurities plus Alda's jealousy and possessiveness.
The film benefits from the use of several tunes from the great American songbook-notably the Gershwins' hit that doubles as the film's title. Along with the music there are soulful performances from the leads; and there is a lot of dialogue that takes into account not only the fate of men after the war, but the fate of women too.
I especially like that there is no cliched happy ending. Lupino and Bennett go separate ways. There is a bit of hopefulness they may meet up again. Lupino and Bennett are playing star-crossed wanderers. Lupino's priority is her family and it will always be her priority but she is also on a search for what will bring true happiness into her life.
The film seems okay with her not yet settling down. Someday she will, with the man she loves.
Mr. Alda never gets the girl in these pictures, though he tries hard. Usually the women in his orbit end up with more noble suffering men- in this case one played by Bruce Bennett.
Miss Lupino portrays the main character, a lounge singer who travels from Manhattan to Long Beach for an impromptu family reunion. While she appears in the majority of scenes, plenty of screen time is allowed for us to get to know the others.
The film has a rather large extended cast. Chief among the supporting players is Andrea King as Lupino's married sister whose husband (John Ridgely) has seen better days. A war veteran, he's experiencing PTSD and is currently staying at a mental hospital.
In addition to King, there is another sister (Martha Vickers) and a brother (Warren Douglas)- two young adults not more than kids really, on the verge of making bad choices. The brother especially needs guidance; he is working for Alda and an associate (Alan Hale) at the club and occasionally handles delicate "business."
There's a couple (Dolores Moran and Don McGuire) who live across the hall from King's apartment. They just had twins, but the wife is already running around with other men because domestic life isn't for her. Noticing the chaos in everyone's lives, Lupino decides to extend her stay and makes it her mission to get them all back on track. At the same time she is hired to sing at Alda's club.
Bennett's character is introduced into the story in a highly imaginative way. He has been arrested when Lupino's kid brother pins a crime on him. Lupino goes to bail the guy out, trying to undo the mistake her brother made. Outside the precinct Lupino and Bennett get to know each other. He was foreshadowed earlier in the movie when Lupino's character off-handedly mentioned the name of a jazz pianist she never met but whose music she's always admired.
When they cross paths, they discuss common interests. Soon she becomes smitten with him. But two obstacles stand in the way of a possible relationship- Bennett's insecurities plus Alda's jealousy and possessiveness.
The film benefits from the use of several tunes from the great American songbook-notably the Gershwins' hit that doubles as the film's title. Along with the music there are soulful performances from the leads; and there is a lot of dialogue that takes into account not only the fate of men after the war, but the fate of women too.
I especially like that there is no cliched happy ending. Lupino and Bennett go separate ways. There is a bit of hopefulness they may meet up again. Lupino and Bennett are playing star-crossed wanderers. Lupino's priority is her family and it will always be her priority but she is also on a search for what will bring true happiness into her life.
The film seems okay with her not yet settling down. Someday she will, with the man she loves.