Kathy leaves the newspaper business to marry homicide detective Bill but is frustrated by his lack of ambition and the banality of life in the suburbs. Her drive to advance Bill's career soon takes her down a dangerous path.
Kathy is a smart and tough 1950's advice columnist at a San Francisco newspaper, with her name plastered on billboards all over the city. One day, Bill Doyle, a Los Angeles detective, walks into her office - it is instant attraction. After marrying Bill, Kathy gives up her career and becomes a homemaker. However, she is not your typical 1950's homemaker. After hosting several cocktail parties in their San Fernando Valley home, she realizes that Bill is content with his position, and shows no ambition in furthering himself. Kathy will not sit idly by while everyone around her is "moving up in the world". She personally takes upon herself the task of pushing Bill's career along, even if it comes down to murder.Written by
"Love Story" and "The Deadly Triangle" were working titles. See more »
When Kathy calls Alice from the phone booth and hears she is leaving for Honolulu, the reflection of the cameraman is seen all through the scene on the back window of the booth (above left Kathy's head), and it moves as the camera pulls back. See more »
No dear, you said, "Bill, you better go right out and get your lunch because I've just driven up Mrs. Pole's telephone pope".
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Colorful, implausible modern-era melodrama offers Stanwyck another meaty role...
Career gal and avowed bachelorette falls for a ten-year veteran on the Los Angeles police force; they marry, but his low-level status at the department--and the bottom-drawer company they must keep on the social set--brings up the wife's ambitious, scheming nature. What begins as an interesting study of a woman columnist quickly turns into a potboiler, with Barbara Stanwyck as the newly-christened suburban housewife with discontent in her eyes. This change of direction nearly doesn't work, though Stanwyck and Sterling Hayden (and Raymond Burr as Hayden's superior) are very good at keeping the scenario engrossing. Barbara's smudgy face and puffy mouth are just the right ingredients to kick-start a frantic modern 'noir' (complete with a '40s-style score by Paul Dunlap), and the actress is really something to behold when she gets hysterical. The plot takes a few twists which replace the potential for irony with flat-out melodrama, yet it remains tart and absorbing on a minor level. **1/2 from ****
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