La Séductrice aux cheveux rouges

Vermillion O'Toole needs a place to hide out after escaping from the law (that wanted her for something she hadn't done). So she accepts the offer of three little boys to stay with them while their father is gone logging (even though he's a preacher on Sundays). She doesn't know they are hoping she'll marry their father and save him from marrying a prissy town woman. It's a comedy so everything comes out all right in the end.

One very interesting note on this movie is that the preacher actually lives his life by Biblical principles, not condemning Vermillion but encouraging her subtly to follow the good he knows is in her heart. Sterling Hayden and the script portray him as a Christian who is neither a bigot or a milquetoast.

The forms the final part of Sirk's early Americana trilogy. As with the first two films, ("Has Anybody Seen my Gal" and "Meet Me at the Fair") it's is a lightweight, extremely affectionate look at American society in the early part of the 20th Century. Along side the abundant good nature, greed and political corruption were dealt with in those films, whereas in this case its acceptance and tolerance for the "other" to which focus is given.

Much of the charm of the movie stems from Ann Sheridan's winning and endearing performance in which she's ably paired by Sterling Hayden. Sirk handles the children particularly well and they turn in lovely comical performances.

While a lot of fun to watch, it's of special interest only in the context of Sirk's career in which he would go on to make far more important and weightier films than this.

This was Ross Hunter's first film as producer for Universal. After his death the obituaries were hardly kind to his great body of work, and that was just before the elevation of Douglas Sirk in places like the English press as being a great director. Without disparaging Sirk I would like to stake a claim that Ross Hunter made Sirk great, and to even claim that 'Take Me to Town' is equal to Sirk's great trio: 'Magnificent Obsession', 'All That Heaven Allows' and 'Imitation of Life'. In some ways it is better as it is bursting with a life and energy that made many other musical westerns pale in comparison. One obituary in The Independent stated that Hunter was gay, but failed to mention that he and his partner supported AIDS charities. Hunter loved life and his enthusiasm towards that life produced great acting where even Sterling Hayden looks as equally responsive as Ann Sheridan whose role in this film outshone any of the others I have seen of hers. She glows, and her wit and charm radiate across the screen. Hayden responds and together with the equally great Lee Patrick make this a ten out of ten musical. At the time it may have been just another double bill film, but after seeing it I defy anyone not to feel better about life. This was Ross Hunter's great gift to the cinema but derided by critics he battled on. Was this due to homophobia? I bet many suspected at the time he was gay and it must be said that in many a film of the Fifties at Universal the screen glowed with good looking guys, in small roles and big. He may have adored women actors as some critics snidely observed, but he had an equal eye for the male and was perhaps the only film producer of the time to do so. Who else could have made Sirk see Sterling Hayden in beautiful soft focus close-up so that all of the audience could see, wow, what a hunk? Hayden bathed in Ann Sheridan's great presence in total sexual equality. Ross Hunter contributed to Gay culture during a dark time and let us celebrate him for it, not deride him. Sirk responded to the inspiration, as did other lesser directors knowing exactly what magic Hunter and the audience wanted. This is true cinema.

We all have to start somewhere and for Ross Hunter, producer of some big budget spectacular soap operas for Universal in the 50s and 60s started out with this western family comedy where three kids match make saloon entertainer Ann Sheridan with their father logger/preacher Sterling Hayden. Sheridan is going incognito trying to avoid marshal Larry Gates and a former boyfriend outlaw/gambler Philip Reed who also escaped from Gates.

Sheridan is traveling under the name of Vermillion O'Toole, a tribute to the tint of red in her hair. Hayden's three kids are taken with that hair even in their pre-pubescent years and decide she'd be great.

Surprisingly she takes to being domestic and of course it all works out despite some of the more narrow minded folks in the town who think she's not a suitable mate for the town's spiritual leader.

Being an entertainer calls for Sheridan to have a number or two which she delivers with gusto. Special mention has to be given to Lee Patrick who plays the cigar smoking saloon owner who goes back with Sheridan. Her mission is to distract Gates and distract him she does.

Take Me To Town still holds up well after over 60 years as good family film making.

Saloon singer Ann Sheridan on the run finds love with widower preacher Sterling Hayden who has got three cute kids.It's not a great Sirk movie,(it's perhaps even one of his least interesting efforts) but it predates some aspects of his soon-to-come "all that Heaven allows" (one could begin to detect in " has anybody seen my gal?" ): a man and a woman who are worlds apart and whose relationship is blamed by the well-meaning holier-than -thou ladies in the town.The children steal the show from the stars in every scene they are in.The "show in the show" trick,on the other hand ,having little connection with the plot ,is not very exciting.