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.

RanchoTuVu World War II era Mardi Gras in New Orleans complete with confetti, parades, and streamers, where the well-heeled daughter of a scholar on the Mayas meets and has an "indiscretion" with a soldier about to be shipped out to fight in the war. The real drama comes after the baby arrives and the meaning of the film's title becomes clearer, as the older sister of the young woman convinces her that she and her (the sister's) husband could raise the baby as their own and everyone would believe they were the baby's biological parents. The story moves from New Orleans to New York with a stop at a ranch in Arizona, the young sister (Nancy Coleman) finds the emotional attachment to her baby is stronger than she expected and forces the older sister to hold her to her promise, which is the angle that really motivates the movie.

edwagreen The typical movie but nicely about a woman who takes her unmarried sister's child as her own when the latter becomes pregnant after a one night fling with a soldier. Of course, the letter he sent her to explain that his leave had been canceled goes astray.Nancy Coleman as the unmarried lady and Margaret Lindsay, as the sister, play their roles to the hilt. We have guilt, promises broken and an adorable little boy.The atmosphere of the film is a good one as it begins at Mardi Gras time in New Orleans. When I first saw the film and what was taking place, I thought I was headed to the tear-jerker, "My Foolish Heart." Yes, the sisters may have been foolish in what they decided to do, but don't we do things as a sacrifice to children? The story ends on that note.