Plot

A New York nanny at the park with baby, encounters handsome, winsome charmer. In this brief tale of love and distraction, she loses her heart, and her head, leaving the baby wailing on a swing.

A New York nanny (Jo Henderson) at the park with a baby (Barbara Brousal), encounters handsome, winsome charmer (Dan Hedaya). In this brief tale of love and distraction, she loses her heart, and her head, leaving the baby alone, wailing on a swing.

In this fable of love, where the couple walks into the sunset, we are all sympathetic to their sudden passion, and may even urge them on. As the song goes, The world will always welcome lovers. Is love all its cracked up to be. Can we distinguish between love and passion? As an audience do we have a preference? Would you rather see a film in which a quiet responsible couple agree to see one another on an exclusive basis and make plans for marriage. Or would you prefer to see the beautiful governess carried away by the handsome stranger moments after a smoldering embrace through soapy bubbles, surrounded by the lush greenery of the park,

At the same time, we cannot ignore baby Barbara, who, for all we know, may still be swinging on the swing. Or is that merely a metaphor for a mothers emotional abandonment of her infant? This brings into question the maternal responsibility in caring for her child. The relative indifference of the best non-related caregiver can only be a poor substitute for the real thing. Yet, our culture has implied that full time parenting is indicative of a lack of a parents ambition, and has heartily endorsed a mother to return to work as soon as possible after giving birth. Here, we can see an example of caregivers indifference, carried to a ridiculous extreme. Perhaps that is the most graphic way of bringing attention to it.

The musical score is an arrangement by the late Chris Anderson, and his trio. It is a jazz treatment of a 16th century English ballad, Greensleeves.