Part one of this three tiered period of soap opera ended with madam Polly Bergen bringing troubled Lesley Ann Warren into her organization as her new top girl, taking away her rags and giving her riches. With lots of opportunity for financial changes, she sets out to do good for the last blood relatives she has while still continuing to deal with wealthy old lover Marc Singer while trying to plan a future with the decent David Dukes who promises her a future of sunshine in spite of what he knows about her. Singer joins forces with estranged father Michael Constantine who viciously continues to despise Warren. It's obvious that with her new life and Singer taking over his father's Las Vegas operation that their involvement is far from over. Jack Weston and John Saxon return as well.
We are now in World War II and a changing world has the business of high class bordellos facing a different world, especially with mob interference. Bergen gets a beautiful scene where she has to let Warren go, revealing that had she been given the same opportunity, she would have jumped. But a happy ending isn't in the cards, at least not yet, and just when you think she's out, she's right back in. This isn't as campy as the first episode, but it is intense, filled with violence and angry passion, and an increasing glamor that would soon be the archetype for the self obsessed desires for wealth and power in the world consumed by prime time soaps just a few years later. The ironic metaphor of the shot of a red sequined slipper on a Vegas marquee explores the anger that is written all over the once innocent Cinderella which would lead to Warren's delightful floozie in "Victor /Victoria".
We are now in World War II and a changing world has the business of high class bordellos facing a different world, especially with mob interference. Bergen gets a beautiful scene where she has to let Warren go, revealing that had she been given the same opportunity, she would have jumped. But a happy ending isn't in the cards, at least not yet, and just when you think she's out, she's right back in. This isn't as campy as the first episode, but it is intense, filled with violence and angry passion, and an increasing glamor that would soon be the archetype for the self obsessed desires for wealth and power in the world consumed by prime time soaps just a few years later. The ironic metaphor of the shot of a red sequined slipper on a Vegas marquee explores the anger that is written all over the once innocent Cinderella which would lead to Warren's delightful floozie in "Victor /Victoria".