Always Together (1948)

76 or 78 mins | Comedy | 10 January 1948

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HISTORY

The film's working titles were Head Over Heels, Love at First Sight and Need for Each Other. Warner Bros. contract players Jack Carson, Janis Paige, Dennis Morgan, Alexis Smith and Humphrey Bogart appear in the films-within-the-film sequences. The Var review commented, "those appearing in hoked-up sequences of films...make up the best portions of this production.". ...

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The film's working titles were Head Over Heels, Love at First Sight and Need for Each Other. Warner Bros. contract players Jack Carson, Janis Paige, Dennis Morgan, Alexis Smith and Humphrey Bogart appear in the films-within-the-film sequences. The Var review commented, "those appearing in hoked-up sequences of films...make up the best portions of this production.".

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
20 Dec 1947
---
Film Daily
17 Dec 1947
p. 12
Hollywood Reporter
6 Jun 1947
p.15
Hollywood Reporter
3 Jul 1947
p. 19
Hollywood Reporter
11 Dec 1947
p. 3
Motion Picture Herald Product Digest
20 Dec 1947
---
New York Times
29 Jun 1947
---
New York Times
11 Dec 1947
p. 46
Variety
17 Dec 1947
p. 8
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
BRAND NAME
A Warner Bros.--First National Picture
A Warner Bros.--First National Picture
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Frederick de Cordova
Dir
Dial dir
Asst dir
PRODUCERS
Exec prod
WRITERS
Orig scr, Orig scr
Orig scr, Orig scr
Orig scr, Orig scr
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Leo K. Kuter
Art dir
FILM EDITOR
SET DECORATOR
Set dec
COSTUMES
Ward
MUSIC
Orch arr
Werner Heymann
Mus
SOUND
VISUAL EFFECTS
Spec eff dir
Spec eff
MAKEUP
Makeup artist
DETAILS
Alternate Titles:
Head Over Heels
Love at First Sight
Need for Each Other
Release Date:
10 January 1948
Premiere Information:
New York opening: 10 Dec 1947
Production Date:
late May--early Jul 1947
Copyright Info
Claimant
Date
Copyright Number
Warner Bros. Pictures, Inc.
13 January 1948
LP1409
Physical Properties:
Sound
RCA Sound System
Black and White
Duration(in mins):
76 or 78
Length(in feet):
7,075
Country:
United States
PCA No:
12524
SYNOPSIS

When wealthy Jonathan Turner believes that he is dying, he commissions his lawyer, Mr. Bull, to deliver a check for one million dollars to twenty-two-year-old secretary Jane Barker. Jane is in love with Donn Masters, an unsuccessful writer of gloomy stories, who lives across the hall from her. Donn and Jane spend a great deal of time together at the movies. After watching a film in which a marriage breaks up because the husband is not happy living on his rich wife's money, Donn and Jane argue over whether they could be happy if she were wealthy and he were poor. The following day, Bull delivers Turner's check to Jane. At first, she does not believe the check is valid, but Bull soon convinces her that she is indeed a millionaire. Worried that her relationship with Donn will be ruined if he learns she is now a rich woman, Jane postpones telling him. Then Donn sells a story, and with the money, the couple gets married, although Jane continues to keep her wealth a secret. When Turner unexpectedly recovers, he wants his money back and, in order to get it, decides to worm his way into Jane's life. Using the name Oliver Ramsey, Turner rents Donn's former room. He then asks Bull to reveal Jane's secret to Donn, hoping that the couple will quarrel and he will thus be able to relieve her of the money and return them to happiness. The plan backfires, however, when Donn becomes deliriously happy at the news. Jane and Donn hire Turner as their business manager, move to an elegant apartment and buy clothes. ...

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When wealthy Jonathan Turner believes that he is dying, he commissions his lawyer, Mr. Bull, to deliver a check for one million dollars to twenty-two-year-old secretary Jane Barker. Jane is in love with Donn Masters, an unsuccessful writer of gloomy stories, who lives across the hall from her. Donn and Jane spend a great deal of time together at the movies. After watching a film in which a marriage breaks up because the husband is not happy living on his rich wife's money, Donn and Jane argue over whether they could be happy if she were wealthy and he were poor. The following day, Bull delivers Turner's check to Jane. At first, she does not believe the check is valid, but Bull soon convinces her that she is indeed a millionaire. Worried that her relationship with Donn will be ruined if he learns she is now a rich woman, Jane postpones telling him. Then Donn sells a story, and with the money, the couple gets married, although Jane continues to keep her wealth a secret. When Turner unexpectedly recovers, he wants his money back and, in order to get it, decides to worm his way into Jane's life. Using the name Oliver Ramsey, Turner rents Donn's former room. He then asks Bull to reveal Jane's secret to Donn, hoping that the couple will quarrel and he will thus be able to relieve her of the money and return them to happiness. The plan backfires, however, when Donn becomes deliriously happy at the news. Jane and Donn hire Turner as their business manager, move to an elegant apartment and buy clothes. Donn even starts writing cheerful stories. Eventually, however, Jane's insecurity causes her to quarrel with Donn, and she resolves to file for divorce. Donn follows Jane to Reno and causes a sensation by demanding alimony because he believes that if he has money of his own, he can then remarry her. At the divorce hearing, Turner inadvertently reveals his real identity. Donn and Jane learn that Jane's father had been defrauded by Turner, and that Turner gave her the money to assuage his conscience. Later, Turner admits to Donn that he tried to break up the marriage and agrees to repair the damage. Donn and Turner find Jane at a movie theater, and there he tells her that he will never take another cent from her. He then turns around and asks her for a loan to start a magazine, and the couple is reconciled.

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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.