La scandaleuse ingénue

I thought this was a pretty good culture clash movie. From 1950, a time when American women were starting to be able to show some leg and midriff, this movie shows quite well what older folks thought of these new hussy's, and how young people started not caring what the old folks thought. I'm sure this movie will mean little to those under 40, who have known nothing except bikinis on the beach, but for those old enough to remember such things, it was an interesting time and is well represented here.

But I suppose the culture clash aspect might translate to modern day youth. VERY few girls or women had tattoos or pierced belly buttons in the 1960's or 70's, and I'm sure today's young ladies couldn't care less about what grandma thinks about their "tramp stamps" and nose rings.

To say this movie is "quaint" is an understatement (a man and woman kissing in a parked car was considered disorderly conduct), but don't be surprised if people say the same thing about Pulp Fiction 50 years from now. And if I'm still alive when I'm 100, I'll be checking on those newest Pulp Fiction comments to find out if I'm right.

Any red blooded normal American male will love this movie. The movie is a celebration of God's greatest physical creation, the female form. I guess there's some kind of plot to this movie that I didn't pay too much attention to. All of the main actresses are dropdead gorgeous. It's celebrates the pinup art popular in the 1940s and 1950s. It showcases how beautiful women were often used in advertising to generate interest. A practice that under our more strict rules that we have today is no longer permitted. I would describe the movie as a "light" musical. There's only about three or four songs in the entire movie but they fit in well with the plot. I'm glad I was able to find this terrific film on DVD to add to my 3000 DVD/Blu-ray collection.

I saw this film in 1950 when I was 15 years old. It was so long ago that I cannot comment on its artistic merits or defects. What I can say is that,whether it was because I was 15 or more likely that it brought an air of light and colour to a London which was drab and grey and still littered with bomb sites, it left an unforgettable impression on me that has lasted for over 50 years. What I do remember is that Robert Cummings played his part with a very pleasant lightness of touch and that Joan Caulfield exemplified perfectly the type of pretty girl that George Petty would have enjoyed painting. Perhaps it was guileless by modern standards but it also represented an era of relative innocence. I only wish that I could obtain a copy to see if my impression was justified.

I saw "The Petty Girl" the other day, and it was my first time viewing the film. While Bob Cummings came through big as the artist in search of a model, I was captivated by the golden-haired beauty and charm of the late actress, Joan Caulfield ("Blue Skies," "Dear Ruth"). She was gorgeous. I liked her in "Blue Skies," with her blonde hair worn in a pompadour, and such an innocent look that I admired greatly. But in "The Petty Girl," she went beyond my expectations. She looked great in the blue bathing suit she wore, and her hair was in a pony-tail tied with a gold and, later, a blue scarf. It was the best that I have seen her in the few movies I've seen her do. I wish she would be better remembered by today's movie enthusiasts (critics). She was so radiant in her prime. But that's Hollywood. They want the public to remember the ones with the greatest fame as opposed to those whose careers were short or were transferred to television, like Joan's was. She will always be the beautiful, innocent blonde from the '40's. Some videos of her are in order. RIP, dear one.

A terribly dated affair which I doubt was ever entertaining.

A supposed comedy with some musical elements. Neither the comedy nor the music works. The makers of the film appear to have a very narrow view of the world and all situations are forced to agree with this view. An avant garde artist is always impeccably dressed and groomed; the closest he comes to relaxing is loosening his tie. Is this really how it was in 1950?

Robert Cummings does his thing but he is dealing with very weak material set in a very unconvincing situation. Using "fuddy duddy" academia as the background is too lazy an option and doesn't work.

Overall, The Petty Girl is of possible interest to film buffs who search out quaint, unusual films and to fans of Robert Cummings. Otherwise, to be avoided. 2.75.