krocheav This is melodrama near it's best - offering style, class, surprisingly good performances and an almost believable script. George Cukor as director and George Folsey as director of photography are a solid combination - drawing the viewer into a rather engrossing drama. It's also quite unlike the general Hollywood production (it's reminiscent of the realistic sharp edge that might have come from a writer more like Clifford Odettes). As far as original screenplays go this must rank as one of writer Isobel Lennart's best dramatic character studies. And, could be one time that enforced studio alterations just may have improved the final outcome.Turner is convincing as the small town girl striving for a modeling career in hard bitten N.Y. city. Milland is always reliable and carries his guilt ridden out-of-town businessman role with fitting aplomb. All performances by an unusually cast, fully professional ensemble, are strong. It could be said that Turner was a little too mature for her part and some script elements might not always gel but this remains class entertain for those that want their melodrama treated with less gloss and more character driven. It was obvious this material was never going to be popular stuff.Bronislau Kaper's (Lili '53) dramatic but melodic score sets the emotional tone for this above average piece of storytelling and ranks as one of his best.

moonspinner55 Kansas girl makes a splash in New York City as a print model, but her love affair with a married man may ruin her. From the era where independent career girls were only ambitious until a man entered the picture, this "woman's movie" is naive and rather unconvincing, though it is seldom soft; the knowing dialogue has a sharp, bitter edge, and the performances are solid, making it a cut above the usual soap opera. Isobel Lennart's screenplay is dotted with cutting little truths--too many, perhaps; often, the greedy masochism is underlined with a moral conscience (and tinkling piano keys) which turns the whole thing into a heavy-breathing melodrama for sufferers on the high road. Lana Turner does a lot of striding up and down, and she seems too seasoned to be a novice in the film's opening scenes, but her desperate gaiety is touching. Ray Milland does his usual colorless nice-guy turn, but Ann Dvorak is startling playing an over-the-hill model and Margaret Phillips (as Milland's wife--an invalid who beams with sanity and understanding like a saint) is excellent in the film's big scene, where the two women meet. Not an important picture, nor a provocative one, but a star-vehicle that does manage to touch upon some resonant truths about women, their careers, and their fragile hearts. **1/2 from ****

samhill5215 This is a fairly gripping drama with good performances all around. It's always fun to see the veteran Louis Calhern who's good in just about anything. Lana Turner was the real surprise here although it seemed that at 29 she was a bit too old for that part. Her performance drew me into this sordid little tale of an ambitious small town girl who becomes a top New York model and takes up with a married man. I knew it couldn't end well but I kept watching and waiting. Ann Dvorak was another standout. She made me feel the pain and anguish of the forgotten model who's descended into a life of misery and booze. Ray Milland was the sore spot. He's a fine actor and performed well here as well but I just couldn't see him as the rough and tough Montana copper mine operator, at least not with an English accent. The fact that Welsh actor Margaret Phillips played his wife perhaps was meant to imply they were transplants from England but it was never made clear. In any case it's a good way to spend an hour and forty-eight minutes. Despite occasionally yielding to the temptation of melodrama it's not dull and definitely worth watching.One more thing: the trivia section lists an alternate ending where the Lana Turner character ends up committing suicide like the Ann Dvorak character. It was changed when the test audience hated it. The current ending is not the greatest but I'm not sure it I would have liked the original ending any better. It just didn't seem likely that someone that had worked so hard and diligently to become a top model would have committed suicide for any reason. I think the current ending better reflects such a personality.

MartinHafer Wow, my summary sounds like comments made about an off-brand paper towel! Lana Turner is a nice girl from Kansas who comes to the big city to become a model. Because of her grit, determination, moxie AND, most importantly, fantastic looks, she makes it big. But instead of being on top of the world, she is depressed because she falls for a married man.Overall, is a thoroughly adequate film with decent acting but a story that just never engaged me very well--partly because the relationships seemed rather silly and superficial and also because it was hard to feel sorry for Lana in the film. Despite her complaining about how "life isn't fair", it's really hard for the average person to feel sorry for this woman, as she's a very successful super-model who is sad she can't have a particular married man (Ray Milland). Since she lives in New York, I assume there must be at least a few nice single guys! Also, because Milland wants to sleep with Lana while he's married to a very nice lady, he comes off as a bit of a jerk as well.On the positive side, though the film seems to initially make their romance seem like a good thing, it later shows that there is a wife and she truly loves her hubby. This is NOT a victimless crime. It's not a bad morality tale, but had I cared more about Lana and Ray, it would have been a lot better.