A bookish historian is married to a steely Southern belle who raises horses, an animal that he doesn't care for. However, the cute young neighbor girl doesn't feel that way about him and makes no bones about letting him know it.
Seriously ill, concert pianist Karen Duncan is admitted to a Swiss sanitorium. Despite being attracted to Dr Tony Stanton she ignores his warnings of possibly fatal consequences unless she ... See full summary »
André De Toth
Polly Fulton is the only daughter of rich industrialist B.F. Fulton. She is about to marry the man of her dreams, attorney Robert Tasmin, when she meets the intellectual Thomas Brett. They fall in love and soon they marry. Brett has always been opposed to the lavish lifestyle of the rich, and the anger he feels, when he realizes that he has through his marriage become one of the wealthy, is turned against his wife.Written by
Barbara Stanwyck gets to turn the faucets on for three different men as well as model some pricey threads in BF's Daughter. While clearly a star driven vehicle the storyline itself is a paean to American capitalism summed up in the benign performance of Charles Coburn as a fair minded captain of industry and the abrasive wrongheaded muck wracking of an agitator commentator played by Keenan Wynn.
Polly is the spoiled daughter of industrialist BF Fulton. Engaged to be married she has her head turned by a progressive man of the people, Tom Brett ( Van Heflin ) who has little use for the money of men like BF. She marries Brett who rejects her lifestyle even though it is her money that brings him exposure and fame. The two drift, BF gets ill and the ex-paramour flies off on a dangerous mission giving Polly plenty to fret about.
BF suffers from too much comparison to other works involving the cast. Stanwyck's spoiled rich girl doesn't seem to dig as deep as she does in Sorry, Wrong Number. Her father daughter reprise with Coburn worked better when they were on the other side of the law in The Lady Eve. The same can be said with Heflin in The Strange Love of Martha Ivers.
Robert Z. Leonard's direction is sound and cinematographer Joseph Ruttenberg delivers some stunning compositions but the story itself is a soapy melodrama that ultimately turns to sap.
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