L'éternel féminin

This is reminiscent of the theatrics in "All About Eve" but with a sympathetic, light comedic twist to it. There is Ginger Rogers as Beatrice the mature, aging actress who is intent on impressing everyone with the idea that she is 29, no more, no less, and capable of taking on the new female role that's in the works. It doesn't go over too well with a young actress named Sally, played by Pat Crowley, who is willing to charge into every obstacle on her way to 'reaching the top' as an actress. She is very adept at changing her stage name to suit the occasion and meet the needs of the day.

It is great seeing Paul Douglas in top form, here as Beatrice's "ex" yet still devoted to her and her career, but sometimes he does reach the limit of his patience with her. One wonders what other fine, maturer roles he may have had in his career but unfortunately his life was cut short through illness.

William Holden as Stanley the playwright is, as ever, one handsome leading man. He gets entangled emotionally with the two actresses, not sure what to think or which way to turn.

This is an age-old comment of the times that's still prevalent in society, of women's role in life being most appealing when young but having no place when they reach "a certain age." I think these days society is more accepting of the mature, older woman, thanks to woman's lib activity of past decades as well as some outstanding actresses who have influenced opinions and flourished in their senior years, such as Angela Lansbury, Maureen O'Hara, Lauren Bacall, Joan Collins and Kate Hepburn.

As an actress I have often admired Ginger Rogers. I am one of the few who think the films she made after the musicals she made with Fred Astaire are better than all that Art Deco Camp that still in some quarters has dominated her reputation. To name two only, ' Storm Warning ' and ' Tender Comrade '. She excelled as a witty serious actress, and when given the chance was riveting to watch. In this film she gives an exceptionally brave performance realising that a woman in the cold world of show business does not have to be, or should be always ' 29 '. Other people have remarked upon the certain similarities with ' All About Eve ' and there are some, especially with the main content being a new and apparently brilliant actress wanting to take her place in a stage play. This film is sexually bolder as Rogers plays a woman who unashamedly has had a sting of younger lovers with her ex-husband still very much an emotional focal point in her life. and she plays this up in many ways that Bette Davis in ' All About Eve ' could not have done. Rogers has a stronger sexual presence and shows it. The other brave aspect is her recognition that time is not on her side and the scenes where she admits that are truly moving, and without histrionics. William Holden is her latest conquest but his acting in the film does not match hers. He is also encumbered with many scenes with the aspiring young actress played very badly by Pat Crowley. She is nowhere in the same range of acting ability as Anne Baxter opposite Bette Davis. I am not sure if Irving Rapper the director was responsible but Pat Crowley was miscast and what could have been a very good film with a fine script loses much of its force and poignancy. I give it an 8 for the script itself, for Paul Douglas as the ex-husband and for the excellent Ginger Rogers.

A young and cynical writer (William Holden) criticises a stage star who is advancing in years but still popular (Ginger Rogers). In time he begins a relationship with her after he sells his own play to her ex-husband (Paul Douglas). A younger and upcoming actress (Pat Crowley) is also attracted to him and believes a part given to the older actress would be better suited to her.

Based off the play 'Rosalind' by JM Barrie and adapted for the screen by Julius J. and Philip G. Epstein, this film seems to have pretensions at being like ALL ABOUT EVE (1950), but this film it ain't. As a romantic comedy it's okay, but is unlikely to set the world on fire, despite the strengths of the two leads and a good performance by Douglas as the still cuckold ex who gets some of the best dialogue

This film was made in the shadow of ALL ABOUT EVE, and paints a more benign view of that film's central situation. Ginger Rogers plays a leading Broadway star, who retains a close relationship with her former husband (Paul Douglas), and works closely with playwright William Holden (possibly a softer build-up for his play director in Bing Crosby's/Grace Kelly's THE COUNTRY GIRL). Pat Crowley, a younger woman of some acting talent, is trying to break into the circles that cast and produce Broadway plays (she is doing mostly off-Broadway work). The relationship of these four characters are the basis of this comedy.

There are differences between the situation here and the situation in EVE. There was more of an atmosphere of the theater and it's traditions in EVE (because Joseph Mankiewicz writes literate scripts, and was determined to show what goes on behind the stage curtains). But there Bette Davis has gotten trapped into a lonely greatness on stage, and she turns out to be willing to vacate her pedestal if she can have a human life with Gary Merrill. She just does not like the way Anne Baxter is trying to replace her in her parts - Baxter's underhanded methods are despicable. Crowley is not Baxter. She genuinely admires Rogers, and just wants entry (which she may get through Holden). It is just that Rogers is still clinging to her youth - Holden is her last chance for such a cling when they go out together. But even Rogers realizes that she is beyond the point of return. In fact, towards the end of the film the audience and Holden and Crowley discover that Rogers actually gives herself a long summer vacation where she can wear softer, easier clothing and eat as much as she wants to. In the end she accepts that the scepter is passed, but she still has her old husband/friend/and continuous argument partner Douglass to play with.

This is a very good film that manages to entertain even though one of the characters was atrociously written. The film begins with a cocky young playwright (William Holden) being discovered. Although he's managed to offend a famous Broadway star (Ginger Rogers), he's also impressed her with his talent and good looks. The problem is that she wants to star in his play--even though she is WAY too old for the part. Even though they re-write it for her to play a character 10 years older, she still is too old for the part. But he wants the play to be produced and he's also in love with her. What's he to do?! And, what's he to do about Sally Carver--a spunky young actress who would be perfect for the part?

While Holden, Rogers and Paul Douglas all did great because they were real professionals and their parts were well written, I couldn't say the same for Pat Crowley (who played Sally). Although her character was supposed to be very eager and raw, she often came off as annoying and obnoxious. Her constant use of the word 'Siamese' and brash persona really turned me off--as I am sure it did for the audience. It's surprising, since the studio appeared to be grooming her for stardom--and the film's credits point out that she's a new discovery. But, if you can block out her character (at least until she evolves into a REALISTIC person later in the film), you will see a cool film--one that gives Rogers a chance to stretch herself and play a riskier role--an actress whose vanity is getting in the way of common sense. Well worth seeing.