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  • I saw this black & white film back in the early 70's on television, when they used to show movies in the afternoon, and not hours of info-mercials...!

    It's stuck with me all of these years; I'd like to see it again. Where IS it? Carol Lynley is a be-a-u-tiful little thing, and Brandon De Wilde was good also (it was good to see him in something besides SHANE).

    I was a young teenager when I viewed the film; it did play like a "Father Knows Best" episode, but I didn't expect it to go so far, even to include an unexpected teenage pregnancy...! We barely understood the consequences of that issue in the public school at the time, quite a surprise to see it on television (then).

    It made an impression on me as a youth; I'd like to see it again, but don't know why it's not available... if the movie studios can put "Killer Klowns from Outer Space" on DVD (or even VHS), why can't they put this nice little play on plastic? What's the hold-up?
  • Based upon a stage play, this drama about teen angst regarding sex and it's consequences comes close at times to resembling a situation comedy, but fortunately the performances of the cast bring out its feeling and drama as well. De Wilde is a tender teen who's just had his lifelong pal, his dog, put to sleep while he was at school. He seems adrift as his parents fuss over his older sister's pending nuptials. He tries to act tough around best friend Berlinger and soon finds himself captivated by lovely neighbor girl Lynley. Lynley has a meek, overly refined father who can't seem to get in touch with his young child. Eventually, De Wilde and Lynley take their relationship to the next level and a mystifying and unwanted pregnancy is the result. They agonize over what to do while the parents seem to exist on another plane, entirely. De Wilde was already a showbiz veteran at 17, having played hundreds of Broadway performances and starring in "Shane". He brings a lot of depth and feeling to his role. Lynley is also fine as the sensitive good girl who bites off more than she can chew. The best performance is that of Berlinger as both friend and conscience of De Wilde. He gives his role a jolt of energy and sincerity that really helps sell the film. As De Wilde's parents, Carey and Hunt give very good performances, balancing humor and concern. Unfortunately, due to the sometimes jokey nature of the script and the film's setting, this occasionally threatens to become "Dennis the Menace Knocks Up Margaret!" Some of the dialogue and situations are corny and cartoonish, robbing the film of a chance to be as realistic as it might have been. However, by the time the kids have learned their lesson, some authentic and touching emotions have come through. It must be noted that Lynley has perhaps the flattest, most oily-looking ponytail of the '50's. It's also hard to picture what De Wilde and Lynley's awkward first encounter must have been like as they both exude such charming innocence in the film. Bernard Herrmann's "Vertigo-on-the-Playground" score is pretty, but also a bit overwhelming for a story with this subject matter and these small town characters. It can be a little preachy and more than a little pat, but it's definitely worth watching and at 89 minutes, doesn't overstay its welcome.
  • I watched this by chance yesterday. And was quit pleasantly surprised, it's a terrific little film. Far more sophisticated than I would have expected for a film made in 1959 dealing with teenage pregnancy. The two leads, were only about the same age as their characters at the time and looked it, it was quite surprising. Of course nowadays the early consummation of their relationship would have been shown in far more graphic detail, and this film made me realize that those kind of scenes aren't really needed to get the message across. I am not a prude, but I find sometimes the full revelation of a young performer's(normally female)unnecessary and exploitative. This mall film , makes it's point and is quite sensitive in doing so. Contrary to some of the other critics , I did not find myself tempted to laugh at all.
  • Warning: Spoilers
    The Production Code was still in firm control of movie-making in 1959, but "Blue Denim" really stretched the limits in its story of teenage pregnancy. Janet (Carol Lynley) and Arthur (Brandon de Wilde) are superb as high school lovers who must deal with Janet's unplanned pregnancy. There's a frank subplot about abortion and good glimpses of teenage life in the late 50s. The final reunion scene in a train's passenger car is very touching, as the young couple decide to marry and build a life together.

    Even better than Lynley and de Wilde is Warren Berlinger, who plays Arthur's wise guy but good-hearted best friend Ernie. Berlinger brings great credibility to his role, which is essential to the movie's message. Macdonald Carey and Marsha Hunt are also very good as Arthur's parents. The funniest scene has Ernie with classmate Cherie (Roberta Shore), singing onstage at an afterschool party—no one can sing "Who, Baby?" quite like Berlinger (after which he says, "What do you expect for a buck? Pat Boone?"). The song is followed by Arthur catching Janet reading a chapter called "The First Stages of Pregnancy" in the school library.

    To me, the most astonishing thing about "Blue Denim" is the youth of the main cast. De Wilde and Lynley were about 17 when this movie was made, Berlinger was 22, and Roberta Shore was 16. They all conduct themselves like old pros. This is no shallow youth soap opera, but instead is an excellent, frank, and under-appreciated little late 1950s gem. This movie's a real winner with a great cast; it's worth looking for.
  • I must admit I TiVOed this movie because of the description of it. I was intrigued on how a movie made back then could tackle the subject of abortion. If you couldn't even say a word about it, how could you base a whole movie on it? First and foremost, MacDonald Carey did a fantastic job as your typical dad from that era (imagine Fred MacMurray dealing with Robbie knocking a girl up on My Three Sons). Seeing as how he was just about the only one in the movie who could act, I realize how underrated he was at the time (and I guess altogether). The women in the movie (mother and sister of the boy in "trouble") are you typical dingbat "ask the husband what YOUR opinion is" people from that era, which makes it all the more entertaining. The highlights for me are the girl in trouble, the boy's best friend, and of course Mac C. The story is great for the time in which it was acted. Definitely entertaining and worth checking out. Not as dark as "Love with the Proper Stranger" if even that could be considered dark. But good luck finding it. I watched the premiere of it of the FMC. Who knows if it'll be on again.
  • Yes, this movie is dated along with many faults that the discriminate movie watcher can point out. It does not have the artistic value of another "dated movie" such as "The Best Years of our Lives, 1946" but this was America in 1959. Yes, it was "risque" just like "Summerplace" of the same era. Unwanted pregnancies were a big problem that our ancestors preferred to keep under silence, Hollywood included. Unwanted/unplanned pregnancies still are, except that many teenagers/young adults just get an abortion(s) or simply swell the ranks of single parents. Sadly enough, the cost to our American society is disastrous: poverty, violence, pain, abuse, drugs, etc. Worst of all, this tragedy is self-perpetuating. Art (the star teenager) had the chance of having parents he finally went to, who supported and helped him. Most teenagers nowadays won't have a parent or a mentor to confide in. I know, given up to relative as a child in the fifties, I spent part of my life helping teenagers in distress until the problem got overwhelming. This movie teaches a lesson and spreads a message for teenagers, parents, families and educators. The props may be "dated", the feelings, our human needs and man/woman's quest for love are not. I highly recommend "Blue Denim" as I pursue my journey to find such a place where values and principles of dignity are still practiced.

    "Good is he who learns from his mistakes but much better is the one who learns from someone else's errors" was the moral message that "Blue Denim's" Director was telling us.
  • Things are just about the way they were for young people at the time just before choice. It may not have had today's broad slice of life in your face stance, but it was not the order of the day.It reflects the last days of a total lack of knowledge and misunderstood truths among the teenagers of that most recent time. Attractive actors may have brought a few more young people to see and think about the films' moral.
  • Dated as it may be, BLUE DENIM, or BLUE JEANS as it was known overseas, is still an effective teen pregnancy film, and no doubt a big deal of it's time. Carol Lynley is by far the best actor in this modest but visually quite engrossing studio bound movie from Fox, with really beautiful c/s b/w imagery and TV style settings and acting. It reminded me a lot of COMPULSION and THE STRIPPER and KISS ME STUPID and even IN COLD BLOOD with its rural town suburbia in CinemaScope b/w, a style I have always thought atmospheric and effective. Brandon De Wilde clearly just 16 or 17 is quite puppy-fat terrific as the handsome nice boy with the Patty Duke Show style parents, but it is Carol Lynley who acts everyone else off the screen. I grew to really love this film as it went on and actually had a good cry. It still works if you are willing to see it as a very strong teen pregnancy film of its time which must have really had an effect on every teen who saw it. Tragic that DeWilde was killed at 30 in a car crash, as this film had the Rebel Without A Cause image and emotion well presented. Quite beautiful for many reasons and wonderfully frank for 1959. It must have made millions of dollars on a very low budget. There is a wonderful horrible Gothic moment with the abortionists car and the hag within.
  • Warning: Spoilers
    I only had vague recollections of "Blue Denim" from my seeing it as a teenager over 40 years ago, but I did recall that it stuck with me all these years as an important memory of my eventually "reaching 18 and knowing everything." (Carol Lynley line) I watched it again today, and it brought back pleasant memories.

    Sound and photography were not what they are now. Microphones were relatively insensitive, so all the characters sound like they are on stage, talking to the back of the auditorium. Camera angles were stock, and camera panning or changing elevation during a scene was unknown. By today's standards the script is dated and simplistic. It was much easier back then for a teenager to "act rude" to parents.

    SPOILERS - This 90-minute film plays out much like an "Ozzie and Harriet" episode, but one they never would have shown. Art (Brandon DeWilde) and Ernie (Warren Berlinger, the best actor here) are high school buddies who act big by playing poker, smoking cigarettes, drinking beer, and "cussing" (used 'damn' a lot) in Art's basement that has a door directly to the outside. Janet (Carol Lynley) and Art like each other, find themselves alone in a corner of the basement, and the next thing we know she is in the library reading a chapter titled "Pregnancy." "But they don't tell you how to make it go away", she pines.

    Ernie is the mature one through all this. He tells Art "You gotta talk to your parents, don't be afraid. You can't help her have an abortion, that's murder." Art doesn't want the burden of thinking about that, but finally tries to talk to mom, then dad, but they are so wrapped up in older daughter's wedding plans that they never let him have his say.

    Art and Ernie find a man in a bar who can arrange a back-room abortion at a secluded house in the woods, but they need to raise $150, a lot more difficult in the 50s. The last $92 they get by forging Art's dad's signature to a blank check. Janet is taken away in the night, blindfolded, accompanied by a woman who looks a bit like the wicked witch of the west.

    The wedding happens, dad becomes aware of the $92 check, confronts Art, gets the whole story, in the best quick scene dad literally grabs and pulls the bartender half-way over the bar to get him to reveal the location of the girl, they arrive in time, she is sedated but fine, they take her home, her dad is angry, his dad is angry, his mom concludes "we never gave him a chance to talk to us."

    Finding out that Janet was put on a train to go away and have her baby, which was the norm back then, Art finds out, dad says "here,you'll need this money, and permission to get married." The film ends as Art finds Janet at the first train stop, he sits, they hug, and we know they will live happily ever after as gas station attendants instead of the doctors, lawyers, or engineers they could have become if they had not foolishly done the "sex" thing.

    The whole story is a morality play for teenagers. Sex is tempting, you don't know everything at 17, backroom abortions are dangerous, abortions are murder, you put your lives in a straightjacket and virtually give up your dreams of college and a better life. By today's standards this would be a very poor film, but for its time was very risque' I recall, and a fairly popular movie. Inconsistent, for me, was how quickly the parents went from an angry mode to "you need permission to marry her", as if they were saying marriage solves everything, even though you're not even 18 yet and there is a shotgun involved.

    Carol Lynley has first billing and she sure was a cute, sexy starlet when this film was made. She had the looks, and acted well enough, I still wonder why she wasn't a bigger star. This will always remain the film that influenced my formation as a teenager, I'm glad I now have my own copy on VHS.
  • The movie's very much an artifact of its time, salvaged by unusually sensitive performances from de Wilde and Lynley. The trouble is they look so angelic and innocent, and from such solid middle-class backgrounds, it's hard to picture them "experimenting". But then, I guess that's the point for audiences of the day—yes, it can happen to even those who appear least likely, so be on guard. At the same time, the two look so much alike, cynics might suspect incest.

    As a teen from the time, this youth movie strikes me as one of the few made more for teen girls than boys. No speeding cars, beer busts, or other staples of the drive-in crowd (note also how demurely Janet {Lynley} is dressed). Instead, the 90-minutes deals with a subject that can't even be mentioned on screen, viz. abortion. People can be slaughtered in movies, but screenwriters don't dare even mention abortion. Thus, the mores of the time are much in evidence and reinforced by Hollywood's boycott-fearing Production Code

    For example, no mention is made of contraceptives, sex education in school, or safe legalized abortion as possible alternatives (note how the abortion escort is made to look like a witch), since one or all of these were illegal in most or all states. Instead, the kids are to be punished by having their futures decided for them, though again the point is minimized in the screenplay (note how Art's {de Wilde} one smile comes at the end, the required happy ending).

    I'm not taking sides here, just trying to point out how a complex social issue is narrowed down to a single morally acceptable solution, typical of that strait-jacketed decade. Nonetheless and despite the loaded deck, I suspect the movie deals about as sensitively with the issue as conditions of the time would allow. However, canny viewers can learn a lot from this about the origins of the 1960's youth rebellions.
  • This film was probably a shocker for audiences in the Year 1959 when teens getting pregnant was a horrible thing and the parents never explained anything to their children about sex and just figured they would all be educated through biology classes in school. This story is about a young innocent boy, Arthur Bartley, (Brandon DeWilde) who likes the girl next door, Janet Willard, (Carol Lynley) who liked Arthur and Janet decided to give Arthur a good lesson about love making and sex which usually starts a big event in people's lives, babies. Malcolm Bartley, (Macdonald Carey) Arthur's dad had great hopes for his son and he found out that his son was failing in Biology Classes and had straight A's in all his other subjects. Jessie Bartley, (Marsha Hunt) plays the role as Arthur's mother, who is a very calm woman and is very supportive of her family and gives an outstanding performance. By the way, Marsha Hunt had her 91st Birthday on Oct. 17, 2008, she was born on October 17, 1917 and was a great actress on the big screen and also on the New York City Stage. This film was entertaining, enjoy.
  • Warning: Spoilers
    Teenager Arthur (Brandon De Wilde) gets his girlfriend Janet (Carol Lynley) pregnant. They're afraid to tell their parents (remember--this was 1959), abortion is against the law and they're too young to get married. So...what will they do?

    **SPOILERS** VERY dated in some terms. The teenagers "sex" talk and reactions to Janet's being pregnant are so naive it's actually sort of funny. Seriously--even in 1959 they had no idea what would happen? Also the parents in this weren't characters--they were caricatures. As for abortion--it was still illegal back and considered a negative thing but this overdoes it. I almost laughed when I saw the "evil" doctor preparing for the operation. BTW, the word "abortion" is never used (the Production Code wouldn't allow it). Also it leads to an ending which I thought was far from happy...or realistic. Still I DID like the film.

    I heard about this film first back in the 1970s. It was playing on late-night TV. I had no interest in it at all and didn't watch but my mom and sister did. By the end they were crying nonstop! Now I cry easily but I didn't think this would affect me. I was wrong. At least three times during this I broke down (and I'm a guy!)! The situations were dated but the acting wasn't. Lynley was good but this is De Wilde's movie all the way. His agony over what to do is believable (and heart-breaking) every step of the way. His reactions are what set me off. So it's dated but well-done and believable. Worth catching. I give it a 7.
  • I saw this movie when it first came out in 1959 U was just a kid. The movie was well done for the times the topic of the movie was not discussed in those day. I think Carol Linley did a very good job and I became a fan of hers only after seeing this movie, and can't forget Brandon he died much too young he was a very good actor. How or where can I purchase this movie? We don't see this type of acting today.
  • Warning: Spoilers
    ***SPOILERS*** The movie "Blue Denim" obviously named after the pants that it's star Brandon DeWild's, Arthur "Art" Bartley, wears in the film tackles the very tricky and taboo subject of teenage pregnancy and, a word never once uttered in the film, abortion.

    It's when 16 year old Arthur Bartley fell in love with his cute and innocent next door neighbor Janet Willard, Carol Lynley, that what at first was a case of puppy love turned into something far more serious. It's wasn't until a few months later that Arthur found out that he in fact and put Janet in the "family way" and that just about destroyed both his and Janet's future in going to collage and becoming a lawyer or in Janet's case registered nurse! Making an already bad situation even worse Arthur gets in touch with his best friend "know it all" Ernie, Warren Berlinger, who claims that he can fix his and Janet's pressing problem by getting a back alley abortion doctor to prevent Janet and Arthur's unborn baby from going full term! The only problem is that "Know it all" Ernie is full of BS about knowing any doctor that can get the job down for the two desperate teens!

    While all this is going on Arthur starts to have second thoughts in having his and Janet's own flesh and blood, as he describes it, murdered just to keep his parents Maj. Malcolm Bartley Ret., Macdonald Carey, and Jessie Willard, Marash Hunt,from knowing the truth about the mess that he got himself into! As for Janet her widower pop Professor Willard, Vaughn Taylor, who thinks the world of her can end up suffering a stroke or heart attack in he found out what she and her boyfriend Arthur did to themselves!

    ***SPOILERS*** The film has both Arthur and Janet go so far as finding a abortion doctor, Sam Buffington,through a local soda jerk, Anthony J. Corso, that want's $150.00 up front and in cash to do the "job" for them . It's when Janet is about to go under on Dr. Buffington's makeshift operation table that Arthur gets a change of heart and together with his and Janet's pop storm the doc's office and prevent the abortion from happening! Very touching ending with both Arthur and Janet, who was secretly checking out of town, reunited on a train to Janet's Aunt's place to have both her and Arthur's child born, and brought up by Auntie, before she can come back home without anybody in town noticing it.

    Yes it was terrible what happened by Arthur and Janet not watching themselves in getting into the terrible mess that they found themselves in but it would have been far far worse by having their innocent baby aborted before it even had a chance to live. And by doing the right thing both Arthur and Janet prevented a very bad situation for becoming a full fledged disaster which they would have to live with for the rest of their lives!
  • Arthur Bartley and Janet Willard are fresh-faced teens in 1950s America. Arthur shoots the breeze with his friend Ernie drinking, smoking, and playing poker. Janet enters their basement hideout. Ernie forges a permission slip for her. Arthur and Janet start a relationship which culminates to a desperate need for an abortion.

    There are limitations for its time. There is no way to show the sexual encounter and the word abortion is never mentioned. It's already pushing the envelop to touch upon the subject matter. It is exactly what one expects from a 50's movie dealing with teen sex and abortion. The movie has one major change from the play that speaks to the public sensitivity. As a movie, it is very much a 50's movie. It is old fashion melodrama. The young actors are all capable. The two leads are very young and fresh-faced. It's like a better made PSA movie. That's giving it short shrift. It's better than that. There is real tension in the drama. The most compelling section is Arthur trying to tell his parents. The ending is the safer choice which is as much as can be expected for its time. While the attempt is commendable, it cannot escape the melodramatic style and the moral restrictions.
  • Warning: Spoilers
    It broke my heart to see this movie tonite during the week miss carol lynley passed away. what a good little actress she was.would have loved to see her in more films. blue denim is a great little movie with no long moments. i know its the role she was playing but dam marsha hunt got on my nerves. not crazy over macdoald crey either.....but the rest of the cast did well. being pregnant in the fifties must have been hell...cause everything had to be hidden. just look at the mention of rotection...abortion ect. so i recommend you to watch it only to witness carol lynleys fine work
  • Warning: Spoilers
    Changing the ending really changed the impact of this story. Hollywood could not handle a character actually having an abortion in the 50's. Of course, getting an abortion back then was a pretty horrendous undertaking but perhaps actually allowing Lynley's character to go through with it would have been the better choice dramatically. The Broadway play was quite powerful. This watered down version was probably the best they could do back then. The Bernard Herrmann score eerily foreshadows his classic Vertigo score especially over the opening credits.
  • So-so movie, really only watched to see Carol Lynley whom I love. But do have to say that we feel this movie was pretty ahead of it's time. I can remember when high school girls we knew 'went to live with her cousin in...' (usually another state) but it was really because they had gotten pregnant. There was a shame to it in those days, and it was always hidden.

    But a young girl's pregnancy is handled with candor in this film, so we think it was rare for it's time. As inappropriate as it may be to to write about here, it makes one wonder if there may have been a political message behind the story...

    Not trying to start a debate - hear me out!!!

    At that time these 'services' were indeed 'backroom' (illegal), and the film could be looked at as putting forth a position that the laws should be changed. On the other hand, in the end one could argue that the film shows how young people should take responsibility for the (young pregnancy) situation and work together with their families to sort it all out. Tricky!

    We found this to be THE MOST INTERESTING ASPECT of this film - especially considering the way 'unwanted' pregnancies were dealt with during that time in our history. So, you see, it really doesn't matter if the film intended to "send a message" - cause by the end groups on either side of the abortion debate should be satisfied with the way the story was told.
  • Trouble in Ozzie & Harriet-land: moody suburban teenager begins an awkward sweetheart-relationship with the pretty blonde bobbysoxer down the street and, after a couple of tender embraces, we learn she is three months pregnant. Adapted from the play by James Leo Herlihy and William Noble, this issue movie takes a timeless situation and plays it safe. In fact, it isn't really about teen pregnancy after all, it's about the pain of telling your parents you made a big mistake. Another problem with the film lies in the casting of the leads: Brandon de Wilde looks too young and too puny in stature next to Carol Lynley (probably a teenager but looking a lot older with her large face and small features). The two don't match up, with de Wilde coming off more like Lynley's younger brother. The script, by Edith Sommer and director Philip Dunne, hasn't been reworked from stage to screen, with the stilted dialogue exchanges not flowing in a realistic manner. Dunne sets up his shots as if he were filming a play, even going so far as having his actors occasionally shout their lines. The adults are portrayed fairly (a nice change for a teen-oriented movie) and the intentions here are clearly heartfelt, but only eternal optimists will buy into that ending. ** from ****
  • mls418221 March 2021
    This film was pretty frank for its time. Unfortunately, it isn't even dated. The problem will always be there as evidenced by shows like Pregnant at 16.
  • Warning: Spoilers
    Coming out the same year as the much more scandalous (and colorful) "A Summer Place", this adoption of a successful Broadway play takes a while to build up. It features sincere performances by Brandon DeWilde and Carol Lynley as basically nice teenagers who sleep together and decide to have the big "A". That word isn't even uttered in the 90 minutes running time, only insinuated when DeWilde asks friend Warren Berlinger the name of a doctor who perform such procedures. There's a lot of discussion over the moral responsibility and the fact that they are too young, and when they do try to get a marriage license, they are treated with disrespect not only by the license bureau employees but adults waiting to get licenses as well.

    Veteran actors MacDonald Carey and Marsha Hunt play DeWilde's parents, struggling with their own days of their lives and an engaged daughter who fortunately doesn't go through the same ordeal. It's like "Father of the Bride" finds out that he's going to be a grandfather from one of the two sons, but here, when he tries to get help from his parents, he's treated like a child and not taken seriously.

    It's obvious in the late 1950's that even with the code still in effect, Hollywood was trying to get past it in dealing with certain themes that society was dealing with and couldn't properly discuss without facing the wrath by the Catholic legion of decency. This film is obviously well-intentioned, but shows that the generation gap was really responsible for creating more problems than teams were finding as they grew up both physically and emotionally. This is not exploitive like other teen dramas, but doesn't have the lushness of the more popular and well remembered Sandra Dee / Troy Donahue film.
  • When watching this movie I was overcome with equal urges to both laugh and squirm. Unfortunately, they happened at the same time, which eliminated any emotional punch this movie may have once had. The main issue that this movie tackles is both universal and timeless, but the problems encountered by the three teenage leads are dated and quite foreign to today's youth. This picture could have very likely been compelling and controversial when it first came out in 1959, but today it stands as a cautionary guide for film makers not to make their pictures subject to the time. Overall, a light way to look at an era not too far gone.
  • The kid from "Shane" is all grown up and has the hots for Carol Lynley. The attraction is mutual and before you know it, Lynley is pregnant and they're looking to get an abortion. Lord knows I love melodrama, but this film is so past the top it can't even see it anymore. It's amusing at time, but mostly it just seems to be inhabited by characters that are not recognizable as real people.
  • Warning: Spoilers
    Copyright 1959 by 20th Century-Fox Film Corp. New York opening at the Victoria: 30 July 1959. U.S. release: August 1959. U.K. release: October 1959. Australian release: 12 November 1959. 8,046 feet. 89 minutes.

    U.K. and Australian release title: BLUE JEANS.

    SYNOPSIS: In a small suburban town, two teenagers fall in love. The boy, Arthur Bartley, is sixteen; a fairly good student and athlete, he finds it impossible to communicate with his preoccupied parents and spends most of his time in his basement den. The girl, Janet Willard, is a 15-year-old whose widowed father is trying to make her into an exact image of her late mother. Janet becomes pregnant.

    NOTES: Running a modestly successful 166 performances, Blue Denim opened on Broadway at the Playhouse on 27 February 1958. Barbara Wolferman and James Hammerstein were the producers and Joshua Logan was the director. Burt Brinckerhoff, Chester Morris, June Walker and Pat Stanley created the roles played respectively by de Wilde, Carey, Hunt and Shipman. For the film version, Lynley and Berlinger repeat their stage characterizations.

    Fox's 5th most popular film in the U.S./Canadian market for 1958-59. Initial rentals gross was close to $4 million. The movie came nowhere near duplicating this sort of success in other markets. In fact, I doubt if the British and Australian rental returns even managed to offset the movie's print, advertising and distribution costs.

    A sequel entitled "Blue Denim Baby" was planned for 1961, but never got off the ground, once the foreign rental returns were in the bag - or rather, NOT in the bag!

    COMMENT: The critics were right about this one. Offsetting the sincerity of the young players, the dullness of the direction, the excessive dialogue and the fact that the movie is obviously derived from a stage play, plus its very modest production values, plus the very routine behind-the-camera credits (aside from Leo Tover's slick photography), not to mention the obtrusive and ill-conceived music score, made the film somewhat less than mediocre entertainment for all but a section of really keen juvenile ticket-buyers.
  • The film inverts the message of the stage play. More importantly, 16 or 17 year old kids in 1959 had little understanding of abortion or abortion procedures. This was a subject never mentioned. In fact, one of the inaccuracies of the movie is when the boys tell each other of their fathers' attempt at telling them the facts of life. That simply did not happen in 1959. That battle was to start in the 1960s, and even ten years later, most fathers in the 1960s were too ashamed to talk to their sons about "sex". Anyway, it would not have happened in 1959.

    Other minor, yet important plot inconsistencies. The teens are shown dancing to 40s music throughout. Teenagers in 1959 were hooked on Dick Clark and American Bandstand and only wanted to dance to the new sound of rock and roll, which radio stations all over the country were playing. No teens were dancing to 40s big band music in 1959. Movies always get this major detail wrong ... they never do their homework concerning contemporary music and teenage behavior, and it cheapens the movies and the subjects portrayed within.
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