Modern audiences---or at those who come to IMDB, seem to judge this film by modern standards. This was the script. Bo was an uncivilized, uncouth young man totally unprepared for dealing with women OR men in life away from the ranch. Cherie was a painfully untalented hillbilly with ridiculous plans to go to Hollywood. The absurdity of both characters is clear and intentional. ("She's no angel. She's just some gal who sings in a saloon.")
Even in 1956, Bo's behavior was primitive and threatening. And every other character in the film calls him out on it. It's not like everybody simply accepts what he's doing.
It's a broad screenplay and Josh Logan, who was primarily a stage veteran, directs it broadly. Perhaps too broadly, but not to the point of erasing the tender moments. In the end, Bo learns the meaning of respecting others, most importantly Cherie, whose life has been a sordid search for respectability and acceptance. To her, becoming a star meant people would respect her. Finally, after she admits to her "sinful life" and Bo tells her he loves her just as she is, "no matter how you got that way" she realizes she's found exactly the acceptance she been looking for. In 1956, for a leading female character in a film to admit to promiscuity and not suffer for it, was pretty rare.
It's also a beautiful example of mid 1950s Cinemascope. It's a wonderful looking film.
reply
share