When her mother's handsome parson, Raymond Bloomer, does her the favor of bailing her out, there is instant attraction, and he spends the rest of the film trying to save her and she gives him every opportunity. Billie is wild but not a bad girl - when the roadhouse she is drinking at is raided, she says she never lies about who she is. In the movie, the luscious Billie Dove is the rich daughter of estranged parents: good-time-Charley father Phillips Smalley (director Weber's ex for two years at this point I'd like to have been a fly on the wall when she made suggestions on how to play his part) and Church-going, suffering Edith Yorke (I'm sure Smalley had some thoughts on how she should play her part). We may know that as a fact, but it's a good idea to renew the experience occasionally. That makes a big difference in how a movie affects me - to see it as it was meant to be presented, instead of on my TV screen off a recording from TCM, with perhaps a piano score it's the difference between being at Woodstock when Joe Cocker is performing "I Get By With a Little Help From My Friends" or hearing the tune off a hurdy-gurdy. Vincent Giordano and the Nighthawks were there to play an original score. The first thing I should note about this movie is that I saw it in the largest Museum of Modern Art's movie auditorium, which was full.
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