For KAY FRANCIS admirers, I suppose this one is one of their favorite vehicles. She gets a stunning wardrobe and close-ups to die for. But unfortunately, even Mervyn LeRoy's direction and Orry-Kelly's wardrobe and Casey Robinson's script can't bring reality to the mawkish story.
She's a stage actress with a gilded reputation, but she's hiding her past transgressions in order to protect her child (SYBIL JASON). Improbably, IAN HUNTER is a reporter who's so anxious to get the inside scoop on where she has fled to, that he goes to extreme lengths to discover her whereabouts. Naturally, they fall in love and he has to confess that he's the journalist who spilled her story to the press.
At this point, the plot forgets about reality and sinks into soap suds until the bitter end. It's typical slush for Miss Francis, who suffers and suffers until that magical moment when everything is coming up roses for the last reel.
Forget about it.
She's a stage actress with a gilded reputation, but she's hiding her past transgressions in order to protect her child (SYBIL JASON). Improbably, IAN HUNTER is a reporter who's so anxious to get the inside scoop on where she has fled to, that he goes to extreme lengths to discover her whereabouts. Naturally, they fall in love and he has to confess that he's the journalist who spilled her story to the press.
At this point, the plot forgets about reality and sinks into soap suds until the bitter end. It's typical slush for Miss Francis, who suffers and suffers until that magical moment when everything is coming up roses for the last reel.
Forget about it.