Copyright 1960. A Metro-Goldwyn-Mayer picture. New York opening at the Criterion: 22 September 1960. U.K. release: May 1960 (sic). Australian release: 29 August 1960. 10,990 feet; 122 minutes. SYNOPSIS: Physically and mentally scarred by the cruelty of his clergyman father, Chad Bixby turns to Salome, the hard-working daughter of poor and puritanical Joshua Davis; but she rejects him and flees to New York, where she marries a playboy student.COMMENT: Even a few songs from Pearl Bailey and a few snatches of hot trumpet-playing cannot save this hoke. All four principals are both uninspired and unconvincing. The plot is a tired amalgam of trite clichés, and director Anderson (who has slipped a long, long way from his peak with "Around the World in 80 Days") seems as utterly bored with the absurdly melodramatic proceedings as we are. Ludicrous, preposterous and utterly ridiculous, this movie is every bit as boring as its catchpenny title suggests.

This film suffers from most of the shortcomings mentioned in many of the comments above. Nevertheless, it's worth watching for two principal reasons: The breath-taking, youthful beauty of Natalie Woods, the most beautiful young woman I've ever seen, and the performance of Pearl Bailey, a fascinating personality and a marvelous actress and singer. Sadly, Pearl doesn't get to sing nearly enough (2 blues songs), but her part alone was decently written, and she acquits herself quite well in the meaty role. Wagner does a creditable job despite having to recite the idiotic and banal lines of his character, and the others are passable at best. Hamilton is borderline OK and Kohner munches the scenery something awful in most of her scenes. Were it not for Woods' stunning beauty and Bailey's excellent work, this one would truly stink.

I remember seeing (and taping) this movie off of Superchannel one night. It was part of a "Natalie Wood Double Feature", and it was followed by "Love With The Proper Stranger", and, being a die-hard fan of her, I wasn't about to pass this one up.This film seems, initially, as a soapy, over-the-top, melodramatic feature like many movies of the time. However, if you can overlook the flaws, you will find it very interesting and rewarding. The original attraction of this movie was, for me, the early on-screen teaming of real-life couple Natalie Wood and Robert Wagner. Wood was apparently worried as to whether Wagner could handle a dramatic role, and in retrospect she was justified in that concern. Wagner is more of a personality than an actor, and his performance as the sullen musician comes across as stiff. And Wood's southern accent can be distracting at times - her pronunciation of her lover's name, "Chaad" can get a bit grating! That aside, the most interesting aspects of the story happen later, after Sarah/Salome becomes pregnant by Chad, leaves her overbearing, zealous-nut father and her stifling, confining home life and meets up with Tony McDowall.Her vulnerability and his love for her helped sustain my interest, as did the character of Catherine, Tony's spoiled, bored and man-hungry sister. Pearl Bailey also scores points for her portrayal of the down-on-her-luck, boozing blues singer Ruby Jones. In fact, Wagner's Chad has the best relationship and chemistry with her. When Chad reappears in Salome's life, of course that adds to the tension within the plot. After a while, though, I couldn't understand how Salome could still tolerate him (especially when he marries Catherine out of spite), and I don't get why Tony didn't suspect that the baby was not his (ever think of doing the math, Tone?) The character of Tony, for me, is one of the most sympathetic. His love and concern for Salome, his devotion to Catherine and to little Peter, makes him much more emotionally reachable.(Why didn't Salome realize that she loved him earlier?). Chad only speaks of Peter as if the boy is his property, and doesn't seem to care about his welfare, only revenge on Salome. Granted, she should have told him that she married someone else and that she was passing off the child as her husband's. You can almost feel Salome's longing for Chad, but I don't know how she could pine for him with Tony lying right next to her! When it comes right down to it, I couldn't tear myself away, even now, a few years later after I first saw it, it has some sentimental value. I was already a fan of Natalie, but I barely knew George Hamilton existed before - although was interested after! - and I developed a great respect not only for Wood but also Susan Kohner, who deserved a longer career. Fun little bit of trivia : Did you know that Susan and George had made a film together before this and that at one point, they were engaged? The music makes the moody, longing tone of the film - in fact, it's one of the highlights. And if you enjoyed it, see the 1959 version of "Imitation Of Life" starring Lana Turner, Sandra Dee, John Gavin and Susan Kohner. I recommend "All The Fine Young Cannibals" to adventurous viewers who are willing to take the risk. See if you can tear your eyes away!

I love this picture. I think it's one of his best. For years I have been hoping it come to VHS. It's time to go into that library of movies and put them in VHS. I hope someone take a look at this and put on tape.