The Man I Love (1947)

96-97 mins | Melodrama | 11 January 1947

Director:

Raoul Walsh

Producer:

Arnold Albert

Cinematographer:

Sid Hickox

Editor:

Owen Marks

Production Designer:

Stanley Fleischer

Production Company:

Warner Bros. Pictures, Inc.
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HISTORY

The film's working titles were Night Shift and Why Was I Born? . A 7 Oct 1942 HR news item reports that Warner Bros. purchased Maritta Wolff's novel for $25,000. At that time, the film was to star Ann Sheridan and Humphrey Bogart, according to a 12 Oct 1942 HR news item. In mid-Feb and again in early Mar 1943, a film based on Wolff's novel was announced with a cast that included Sheridan, Jack Carson, Julie Bishop, Helmut Dantine, Dane Clark, Eleanor Parker and Dolores Moran. In Feb, Raoul Walsh was to direct and Benjamin Glazer was the producer. In Mar, Lloyd Bacon had been assigned to direct. Modern sources report that Ida Lupino's singing voice was dubbed by Peg ... More Less

The film's working titles were Night Shift and Why Was I Born? . A 7 Oct 1942 HR news item reports that Warner Bros. purchased Maritta Wolff's novel for $25,000. At that time, the film was to star Ann Sheridan and Humphrey Bogart, according to a 12 Oct 1942 HR news item. In mid-Feb and again in early Mar 1943, a film based on Wolff's novel was announced with a cast that included Sheridan, Jack Carson, Julie Bishop, Helmut Dantine, Dane Clark, Eleanor Parker and Dolores Moran. In Feb, Raoul Walsh was to direct and Benjamin Glazer was the producer. In Mar, Lloyd Bacon had been assigned to direct. Modern sources report that Ida Lupino's singing voice was dubbed by Peg LaCentra . More Less

SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
28 Dec 1946.
---
Daily Variety
24 Dec 46
p. 3.
Down Beat
26 Feb 47
p. 7.
Film Daily
27 Dec 46
p. 6.
Hollywood Reporter
7 Oct 42
p. 1.
Hollywood Reporter
12 Oct 42
p. 6.
Hollywood Reporter
19 Feb 43
p. 11.
Hollywood Reporter
20 Jul 45
p. 9.
Hollywood Reporter
14 Sep 45
p. 15.
Hollywood Reporter
24 Dec 46
p. 3.
Motion Picture Herald Product Digest
p. 2784.
Motion Picture Herald Product Digest
28 Dec 46
p. 3385.
New York Times
25 Jan 47
p. 12.
Variety
25 Dec 46
p. 12.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Warner Bros.--First National Picture
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Dial dir
Asst dir
PRODUCERS
Exec prod
PHOTOGRAPHY
Dir of photog
2d cam
ART DIRECTORS
Supv art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
MUSIC
Mus adpt
Orch arr
Piano solos
SOUND
Re-rec and eff mixer
Re-rec and eff mixer
Mus mixer
VISUAL EFFECTS
Spec eff dir
Spec eff
Spec optical eff
MAKEUP
Makeup artist
STAND INS
Singing voice double for Ida Lupino
SOURCES
LITERARY
Based on the novel Night Shift by Maritta Wolff (New York, 1942).
AUTHOR
MUSIC
"Body and Soul," music by John W. Green.
SONGS
"The Man I Love" and "Liza," music by George Gershwin, lyrics by Ira Gershwin
"Why Was I Born?" and "Bill," music by Jerome Kern, lyrics by Oscar Hammerstein, II and P. G. Wodehouse
"If I Could Be with You," music and lyrics by Henry Creamer and James P. Johnson.
DETAILS
Alternate Titles:
Why Was I Born
Night Shift
Release Date:
11 January 1947
Production Date:
mid July--mid September 1945
Copyright Claimant:
Warner Bros. Pictures, Inc.
Copyright Date:
11 January 1947
Copyright Number:
LP776
Physical Properties:
Sound
RCA Sound System
Black and White
Duration(in mins):
96-97
Country:
United States
Passed by NBR:
No
SYNOPSIS

Singer Petey Brown leaves New York to spend the Christmas holidays with her sisters, Sally Otis and Virginia Brown, and her brother Joey in Long Beach, California. To support her husband Roy, an ex-soldier who is recovering from a nervous breakdown, and her son Buddy, Sally works as a waitress in a restaurant owned by the lecherous Nicky Toresca. Although Toresca's uncle Tony warns his nephew away from Sally, he persists in his pursuit of her. Shortly after Petey arrives, Joey, who works for Toresca, brings Sally an expensive evening gown as a gift. When Sally learns it was purchased by Toresca, she angrily demands that Joey return it. Seeing the difficulties facing her sister, Petey decides to stay in town with her for a while. She wears the dress to Toresca's nightclub and talks her way into a singing job there. Ginny, meanwhile, has a crush on Johnny O'Connor, who lives across the hall from them with his irresponsible wife Gloria and their twins. One night, before Petey's number, Riley, Toresca's right-hand man, tells her that Joey has been arrested. Petey hurries to the police station to bail him out and learns that he blames a man named San Thomas for starting the fight that got him arrested. Angry at her brother's irresponsible actions, Petey bails San out of jail. Although Petey is clearly taken with San, he leaves after thanking her. After Petey returns to the club, she sees Gloria there with another man. Toresca wangles an introduction to Gloria and offers her a job at the club. Later Toresca takes Petey to a little jazz ... +


Singer Petey Brown leaves New York to spend the Christmas holidays with her sisters, Sally Otis and Virginia Brown, and her brother Joey in Long Beach, California. To support her husband Roy, an ex-soldier who is recovering from a nervous breakdown, and her son Buddy, Sally works as a waitress in a restaurant owned by the lecherous Nicky Toresca. Although Toresca's uncle Tony warns his nephew away from Sally, he persists in his pursuit of her. Shortly after Petey arrives, Joey, who works for Toresca, brings Sally an expensive evening gown as a gift. When Sally learns it was purchased by Toresca, she angrily demands that Joey return it. Seeing the difficulties facing her sister, Petey decides to stay in town with her for a while. She wears the dress to Toresca's nightclub and talks her way into a singing job there. Ginny, meanwhile, has a crush on Johnny O'Connor, who lives across the hall from them with his irresponsible wife Gloria and their twins. One night, before Petey's number, Riley, Toresca's right-hand man, tells her that Joey has been arrested. Petey hurries to the police station to bail him out and learns that he blames a man named San Thomas for starting the fight that got him arrested. Angry at her brother's irresponsible actions, Petey bails San out of jail. Although Petey is clearly taken with San, he leaves after thanking her. After Petey returns to the club, she sees Gloria there with another man. Toresca wangles an introduction to Gloria and offers her a job at the club. Later Toresca takes Petey to a little jazz club, where she again meets San and learns that he is a jazz pianist who stopped performing and joined the Merchant Marines after his wife left him. Petey and San begin an affair, but one day, San's wife comes to town, and he tells Petey that he still loves her. Petey angrily asks San to leave, and he does after returning the money she spent on his bail. Meanwhile, Toresca has started an affair with Gloria, but when Johnny comes looking for her, Toresca asks Joey to take her home. Joey is reluctant, knowing Johnny's temper, but manages to get a drunken Gloria into the car. On the way home, however, she jumps out and is killed by an oncoming car. When Joey tells Toresca what happened, Toresca lets him know that he will have to take the blame for Gloria's death. Hearing this, Petey confronts Toresca, and he agrees to keep quiet if she will return to him. Even though she is still in love with San, Petey accepts his terms. Shortly after, Johnny comes gunning for Toresca. Petey wrestles the gun away from Johnny, and informs Toresca that she will tell the police everything. By the time Joey and Petey return to Sally's, Roy has come home from the hospital, and now that her family's problems seem sorted out, Petey decides to leave town. She sees San off to his new assignment in the Merchant Marines, and without promising her anything, San says he will return. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.