SpuffyWeb Sadly Over-hyped

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Kodie Bird True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

MartinHafer Toni (Nancy Coleman) is at Mardi Gras and meets a soldier named Dick (Phillip Reed) and they impetuously fall for each other and they have sex*. She gets pregnant and they lose contact. Not wanting to be an unwed mother, she convinces her sister (Margaret Lindsay) to adopt the child and pretend it is hers. Renee agrees but stipulates that Toni needs to stay away for at least three years, as she's worried Toni might change her mind and try to take the baby back to raise on her own. Some time passes...and Toni's commitment to the agreement begins to wane...Although there are a few overly dramatic and overwrought scenes, this is a good story and it really packs great emotional impact...particularly when Toni decides to go back on their agreement. You'll find yourself getting angry, sad...the whole gamut. Well worth seeing.*Sex in the 1940s was pretty much taboo in films, so here the camera pans to the sky and the music intones and then the sun rises...hardly a love scene but about as far as censors back then would let them go.

Brian Kaufman I stumbled upon this film last night, thinking it would be fun to see another take on how women had to find socially acceptable means of having a child out of wedlock. Other great actresses have played these roles -- Ginger Rogers, Barbara Stanwyck, Bette Davis -- and they deliver wonderful performances. Not in this film, where the leads are just one-dimensional even when expressing conflicting emotions. The sets were lavish -- fanciful confections of style and so over-sized as to convey the opulence and grandeur of the privileged class of the sister heroines.The most memorable aspect of the film were the sumptuous yet hideous gowns and coats worn by the stars. Reminded me of Carol Burnett's spoof of Gone with the Wind where she has a gown made from the velvet draperies, and leaves the drapery rod in. Perhaps it was the juxtaposition of these angular, geometric, over-sized costumes against the backdrop of the Architectural Digest style sets made them even more laughable.

jjodo32 I found this a very touching film, perhaps because I too spent leave in New Orleans during Mardi Gras. However, in my case my loneliness was not assuaged by a tryst with a lovely young woman who gave me access to all the best New Orleans had to offer during wartime. In keeping with conventions of the day the woman is punished for her sin when, not having heard from her lover who has returned to duty, she gives up her baby to her married sister. Although somewhat dated & melodramatic the film works on many levels. I particularly liked the evocation of the New Orleans social scene during Mardi Gras, something I missed when I was there.

jeffreynothing I saw this film at a screening several years ago at the Edinburgh Film Festival. The picture was actually introduced by Mr.Ulmer's daughter. It's a typical 1940's melodrama that is well directed. It is apparent in viewing the film that Ulmer knew exactly what he was doing when he made a movie. It was only the second Ulmer film I had seen, the first being the superior Detour. I can't remember the plot in too much detail because it was a while ago, but it involves an illegitimate child. It has a good social message in that it sheds light on how so-called "bastard" children are sometimes the subjects of social discrimination. I'm surprised it hasn't received more votes. I guess I was lucky to catch that screening.