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Return to Peyton Place (1961)

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3:03 | Trailer
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 ... See full summary »

Director:

José Ferrer

Writers:

Ronald Alexander (screenplay), Grace Metalious (novel)
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Cast

Complete credited cast:
Carol Lynley ... Allison
Jeff Chandler ... Lewis Jackman
Eleanor Parker ... Connie Rossi
Mary Astor ... Mrs. Roberta Carter
Robert Sterling ... Mike Rossi
Luciana Paluzzi ... Raffaella
Brett Halsey ... Ted
Gunnar Hellström ... Nils (as Gunnar Hellstrom)
Tuesday Weld ... Selena
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Storyline

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 <dbubbeo@cmp.com>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

5 May 1961 (USA) See more »

Also Known As:

Rückkehr nach Peyton Place See more »

Company Credits

Production Co:

Jerry Wald Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

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 »

Goofs

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 »

Connections

Featured in Film Review: In Cold Blood/Glossies (1968) See more »

Soundtracks

The Best of Everything
by Alfred Newman
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User Reviews

 
Sequel-itis Sets In
20 May 2008 | by Harold_RobbinsSee all my reviews

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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