The residents of Peyton Place, New Hampshire, are not happy when its most famous resident, Alison Mackenzie, writes a "shocking" novel detailing the sinful secrets of the town. Most ...
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The original primetime soap took place in the title town, which was founded by the Peyton family, whose members included the Harringtons. Some of the plots involved Rodney Harrington, the ... See full summary »
This movie based on the 60's television series, brings back some of the major characters. It begins when a young girl Megan comes to town and she bears a resemblance to Allison Mackenzie, ... See full summary »
This daytime soap was a sequel of sorts to the primetime series Peyton Place, revolving around the lives of the citizens of that community. It did not carry over the stories, however, and ... See full summary »
At breakfast, Jane announces that she and Ralph are getting married the next week. All Jane and Ralph want is a small wedding with the immediate family and no reception, because Jane's ... See full summary »
Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge, and predictable complications result.
Nick Cochran, an American in exile in Macao, has a chance to restore his name by helping capture an international crime lord. Undercover, can he mislead the bad guys and still woo the handsome singer/petty crook, Julie Benson?
Josef von Sternberg,
The residents of Peyton Place, New Hampshire, are not happy when its most famous resident, Alison Mackenzie, writes a "shocking" novel detailing the sinful secrets of the town. Most outraged is malicious Roberta Carter, who wants the book banned from the school library. Roberta's other mission is to destroy her son Ted's marriage to his Italian bride. Theirs, however, isn't the only marriage in trouble: Alison's book is causing a rift between her mother and stepfather, who is also the school principal and one of the book's few defendants.Written by
Daniel Bubbeo <firstname.lastname@example.org>
In 1960, Hedda Hopper reported that producer Jerry Wald was trying to lure Norma Shearer out of retirement, in order to play the mother of a teenage girl. This was the role created by Lana Turner in the original, which eventually went to Eleanor Parker in this sequel. The announcement was probably just a publicity stunt as, at the time, Shearer had been off-screen for 20 years and was nearly 60 years old. See more »
In this sequel, Ted Carter is not only wealthy but has a controlling mother. In the first film, Ted had to work and save for law school, and his parents were not featured in the original. It was Norman Page who had a domineering mother in the first film. See more »
I was pleasantly surprised that RETURN TO PEYTON PLACE wasn't as bad as I'd remembered it to be - it's a well-mounted film, again produced by Jerry Wald (who produced, among other classics, MILDRED PIERCE), but neither as glossy-slick nor as compelling as its predecessor. It suffers from the same fate most sequels do, no matter how well-done or well-intended: the magic that sparked the original is simply gone and cannot be recaptured.
RETURN, of course, is a thinly-veiled account of some of what happened to author Grace Metalious after PEYTON PLACE became the publishing phenomenon of the 1950s (no indeed, the townsfolk were not too fond of their "Pandora in Blue Jeans," as she was called, and, if memory serves, did indeed fire her schoolteacher husband). But it's kind of inconceivable that Metalious's novel would have been published at all if she'd been the snotty bitch portrayed by Carol Lynley - no publisher would have put up with such an attitude from an unknown, first-time novelist.
CLEOPATRA's budget was straining the coffers at Fox, so the cast is not as big as PEYTON PLACE, nor, with three exceptions, as notable. Three Hollywood veterans - Eleanor Parker, Mary Astor, and Jeff Chandler, show the young folks how it's done, and Astor, selfish and manipulative as were two other characters she played (Brigid O'Shaughnessy in THE MALTESE FALCON, and Sandra Kovack in THE GREAT LIE, for which she won an Oscar) simply walks off with the film. We don't like Roberta Carter, or the censorship she tries to impose, but we understand her resistance to change, to losing the values and things she holds dear (including her son). And, unfortunately, Astor/Carter's advisory to the people of Peyton Place that they will live to regret their willingness to encourage such changes in morals as Allison's book seems to exemplify, was a sad prediction of the painful price we would pay in the 1980s for the sexual freedom of the 1960s.
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