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People Will Talk
People Will Talk
People Will Talk
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People Will Talk
Theatrical release poster
Directed byJoseph L. Mankiewicz
Written byJoseph L. Mankiewicz
Based onDr. med. Hiob Prätorius
1932 play
by Curt Goetz[1]
Produced byDarryl F. Zanuck
StarringCary Grant
Jeanne Crain
Finlay Currie
Hume Cronyn
Walter Slezak
Sidney Blackmer
Basil Ruysdael
Katherine Locke
CinematographyMilton Krasner
Edited byBarbara McLean
Music byAlfred Newman (musical direction)
Distributed by20th Century-Fox
Release date
  • August 29, 1951 (1951-08-29)
Running time
110 minutes
CountryUnited States
LanguageEnglish
Box office$2.1 million (U.S./Canadian rentals)[2]

People Will Talk is a 1951 American romantic comedy-drama film written and directed by Joseph L. Mankiewicz and produced by Darryl F. Zanuck, based on the German play by Curt Goetz, which was made into a movie in Germany (Doctor Praetorius, 1950). Released by 20th Century-Fox, it stars Cary Grant and Jeanne Crain, with supporting performances by Hume Cronyn, Finlay Currie, Walter Slezak and Sidney Blackmer.

Mankiewicz's screenplay was nominated for the Writers Guild of America Award for Best Written Comedy.

Plot

[edit]
Still from film, Cary Grant and Jeanne Crain

Dr. Noah Praetorius is a physician who teaches in a medical school and founded a clinic dedicated to treating patients humanely and holistically. A colleague who dislikes Praetorius's unorthodox but effective methods, Dr. Rodney Elwell, has hired a detective to investigate Praetorius. A housekeeper who once worked for Praetorius reacts visibly when Elwell asks her about Praetorius's mysterious friend Mr. Shunderson, who rarely leaves Praetorius's side and has a deep, intuitive understanding of human and animal nature.

Meanwhile, student Deborah Higgins enters Praetorius's life, displaying signs of emotional distress. After she faints during a lecture, Praetorius examines her and informs her that she's pregnant. Upset by this news, "Mrs. Higgins" admits that she's not really married. She will not reveal who the unborn child's father is, and says knowing about her condition would be too much for her father to bear. In a hallway near Praetorius's office, she shoots herself but is not seriously injured.

After successfully operating on Deborah, Praetorius tries to calm her by telling her there was a mistake in her pregnancy test. But she has fallen in love with him, and becomes upset at her own embarrassing behavior. She runs away from the clinic, forcing him to find her so he can tell her she really is pregnant.

Praetorius and Shunderson drive to where Deborah and her father Arthur live, a farm owned by Arthur's brother, John. Arthur thinks that his daughter's injury occurred when she burned herself with a curling iron. Deborah and Praetorius hide Deborah's shooting incident from her father, who is a failure in life and lives unhappily as a dependant of his stingy brother. Deborah is his only pride in life, which might become intolerable for him with a baby to take care of and his daughter's reputation ruined.

While showing Praetorius the farm, Deborah admits her love for him. She also wonders why he is visiting and begins to suspect that he is attracted to her. After she seductively interrogates him, they share a passionate kiss. They soon get married, and Arthur comes to live with them. Deborah goes to the store in order to buy her husband an electric train set and a cake for his birthday. A few weeks later, Deborah suggests to Noah that she may be pregnant, and he admits that she was pregnant all along. They debate over the due date of the baby, Noah says September and she says December. She ruefully concludes that he married her out of pity, but Noah convinces her that he really did fall in love with her.

Elwell's detective discovers that Shunderson was once convicted of murder, and Elwell calls for a misconduct hearing against Praetorius. A photographer takes a picture of Shunderson who confides with doctor Praetorius about it. Dr Elwell pays doctor Praetorius a visit. Instead Deborah answers the door. The professor congratulates Deborah on her being newly married. He requests to meet with her husband concerning confidential information. Deborah confronts him about the vicious gossip concerning her husband. Elwell gives her a document laying the charges against her husband, which she takes to him.

A hearing is held regarding charges against Dr. Praetorius. At the hearing, Praetorius explains that he started his career in a small town by opening a butcher shop as a front for his undeclared medical practice, because the people of the town didn't trust doctors. Elwell accuses Praetorius of "quackery", but Praetorius defends himself with the fact that he was a licensed practitioner, describing how he was forced to leave town after his maid discovered his medical degree.

Disappointed, Elwell then opens the Shunderson file. Praetorius categorically refuses to answer questions about his friend, but Shunderson intervenes and explains that he served 15 years in prison for the alleged death of a man who had tried to murder him, then somehow survived being hanged after actually murdering the man, who had gone into hiding during the first trial. When he woke up, he was lying on a table in front of Praetorius, who was at that time a medical student examining what he believed was a cadaver. Praetorius kept Shunderson's survival a secret, and Shunderson became Praetorius's devoted friend. After this story is told, the chairman concludes the hearing in Praetorius's favor, and Elwell walks away alone and discredited.

Elwell had purposefully arranged for Praetorius's misconduct hearing to be scheduled for the same time as the student/faculty orchestra's concert. After the hearing and Praetorius' acquittal, the film ends with Deborah, her father, and Shunderson in the audience watching Praetorius' good friend and confidant, physics professor Lyonel Barker, play in the orchestra while Praetorius conducts it in the finale of Brahms's Academic Festival Overture, "Gaudeamus Igitur".

Cast

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Reception

[edit]

A. H. Weiler of The New York Times praised Mankiewicz's script and the cast, and concluded: "People Will Talk does have something to say and it does so with erudition and high comedy, a compound that is vastly entertaining and rewarding."[3] Harrison's Reports called the film "an excellent romantic comedy-drama, one that has the rare quality of holding an audience captivated from start to finish because of the deft characterizations, the sparkling dialogue, and the warmth of the central character".[4] William Brogdon of Variety wrote the film "was a well-polished presentation, slickly cast and smoothly turned out."[5] A review in Time magazine applauded Cary Grant for playing "to perfection the man who refuses to worry about anyone's opinion but his own" while Jeanne Crain "displays both intelligence and charm."[6] Philip K. Scheuer of the Los Angeles Times noted the subject material was "occasionally daring and by conventional movie standards, even shocking", but nevertheless felt "People Will Talk is primarily witty—and witty people will talk."[7]

On review aggregator Rotten Tomatoes, 88% of 8 critics gave the film a positive review.[8]

Music

[edit]

The film's score consists of two classical pieces: Johannes Brahms' Academic Festival Overture and Richard Wagner's Prize Song, adapted and conducted by Alfred Newman.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

People Will Talk

View on Grokipedia
from Grokipedia
People Will Talk is a 1951 American romantic comedy-drama film written and directed by Joseph L. Mankiewicz, based on the 1934 German play Dr. Praetorius by Curt Goetz. The story centers on Dr. Noah Praetorius (Cary Grant), an innovative and compassionate physician whose unorthodox medical practices and personal life draw both admiration and controversy. Produced by Darryl F. Zanuck for Twentieth Century Fox, the film stars Grant alongside Jeanne Crain as Deborah Higgins, a young woman facing an unplanned pregnancy, and features supporting performances by Finlay Currie as Praetorius's enigmatic companion Shunderson and Hume Cronyn as the antagonistic Professor Rodney Elwell. The plot follows Praetorius, a popular lecturer and head of an experimental medical clinic, who encounters after she attempts upon discovering her . He helps her through her crisis, leading to romance and marriage, but their union sparks a faculty investigation into his methods and mysterious background, including Shunderson's true identity and Praetorius's unconventional upbringing. Running 110 minutes in black and white, the film blends humor, romance, and on issues like premarital , , and academic politics during the early era. Released on August 29, 1951, People Will Talk received a nomination for Best Written American Comedy for Mankiewicz's . Critics have praised its witty and Grant's charismatic , with an aggregate Tomatometer score of 88% on based on contemporary and retrospective reviews. Mankiewicz, fresh from his Academy Award-winning successes with A Letter to Three Wives (1949) and (1950), used the film to critique conformity and champion progressive ideals in healthcare and personal freedom.

Development and production

Origins and adaptation

People Will Talk originated from the 1932 German play Doctor Med. Hiob Prätorius, Facharzt für Chirurgie und Frauenleiden by Curt Goetz, which premiered on December 31 in and became one of the most performed comedies in German theater history, blending humor with explorations of and romantic entanglements. The play's success led to adaptations, including a 1950 West German film directed by Goetz himself, titled Frauenarzt Dr. Prätorius. In late 1950, 20th Century Fox acquired the rights to Goetz's work, with tasked to adapt it into an English-language , with the script completed by 1951, drawing from his personal frustrations with conventional to infuse the script with progressive ideas on holistic treatment. Produced by , the project was developed as a starring vehicle for , allowing Mankiewicz to write and direct to preserve the film's blend of comedy, romance, and social critique. Mankiewicz's retained core elements like the climactic professional hearing but expanded the on academic and medical establishments, heightening commentary on American and through a McCarthy-era lens of witch hunts against unorthodox figures. Key additions included deeper mystery surrounding the character Shunderson, the protagonist's enigmatic manservant, whose of redemption amplified themes of and ethical beyond the original play's framework. These changes navigated Production Code sensitivities, particularly around topics like unwed , by emphasizing emotional and moral dimensions over explicit content.

Casting

Cary Grant was cast as Dr. Noah Praetorius for his inherent charm and comedic timing, qualities that director believed would perfectly suit the character's blend of whimsy and idealism; Mankiewicz specifically tailored elements of the role to align with Grant's established screen persona, building on his successes in sophisticated comedies like (1940) and The Philadelphia Story (1940). Grant's positive onscreen image was also deemed essential to imbue the role with moral uprightness, helping to navigate the script's more controversial undertones. To prepare, Grant underwent two months of study with cardiologist Dr. Ben Sacks to ensure authenticity in his portrayal of a physician, and with conductor Alexander Steinert to master the orchestra scenes. Jeanne Crain was selected for the role of Deborah Higgins, the vulnerable yet resilient love interest, after she actively campaigned for the part; initially, the studio had chosen , but Baxter withdrew due to her pregnancy, allowing Crain to step in. This decision was influenced by Crain's recent dramatic work, particularly her Academy Award-nominated performance in Pinky (1949), which demonstrated her ability to convey emotional depth and quiet strength. The ensemble of supporting roles was assembled to complement the leads and underscore the film's mix of intellectual drama and light humor. portrayed the antagonistic Dr. Rodney Elwell, bringing his extensive stage experience to the role of a jealous academic rival. played the enigmatic Mr. Shunderson, leveraging his commanding screen presence recently showcased in (1951). appeared as Prof. Lionel Barker, as Arthur Higgins, Margaret Hamilton as Sarah Pickett, each contributing to the story's ensemble dynamics. Casting presented challenges in balancing the film's comedic and dramatic elements, particularly in ensuring rapport between the principals; Crain's determined pursuit of the role amid initial setbacks highlighted the studio's deliberate process to secure actors who could handle the tonal shifts, with the adaptation from Curt Goetz's play informing the archetypes sought for key characters.

Filming and technical aspects

Principal photography for People Will Talk took place from March 20 to early May 1951 at the 20th Century Fox studios in , . The production relied primarily on soundstages to construct the university and clinic sets, with only minor second-unit footage shot on location at in for atmospheric exteriors. This studio-bound approach allowed for controlled execution of the film's intimate dramatic scenes without the need for extensive on-location work. Cinematographer Milton Krasner captured the film in black-and-white 35mm, employing a mix of intimate close-ups to heighten emotional intensity during personal confrontations and wider shots to accommodate the ensemble comedic interactions. His approach emphasized the film's blend of romance, , and , using precise framing to underscore character dynamics within the confined studio environments. Editor Barbara McLean assembled the footage into a 110-minute runtime, balancing swift cuts for the rapid-fire dialogue sequences with more deliberate pacing to develop the dramatic tensions. This rhythmic structure supported director Joseph L. Mankiewicz's script, ensuring the narrative's intellectual and emotional arcs unfolded cohesively. Art directors Lyle R. Wheeler and George W. Davis designed the production's sets to evoke mid-20th-century American academic and medical institutions, reflecting the post-World War II era's social and professional landscapes. Their work focused on realistic interiors that grounded the story's themes of and community in familiar, everyday spaces.

Release

Theatrical release

People Will Talk had its New York premiere on August 29, 1951, at the Roxy Theatre, before expanding to a wider U.S. release in September 1951 through distributor 20th Century Fox. The film was positioned as a sophisticated comedy-drama highlighting Cary Grant's star power, with promotional materials focusing on elements of romance and intrigue while downplaying sensitive topics such as unwed to align with the era's moral standards. Posters and advertisements emphasized Grant's charismatic lead role alongside , framing the story as a lighthearted yet thoughtful exploration of human relationships. The film received approval from the Motion Picture Production Code administration, allowing a general audience release despite its themes of unwed and . Internationally, the film began rolling out in in late 1951 and continuing into 1952, including screenings in the and other markets, often with dubbed versions to accommodate local audiences. The production received approval under the Motion Picture Production Code, equivalent to a general audience rating for the time, despite challenging conventions around topics like illegitimacy and . With a running time of 110 minutes, the film was designed for standard theatrical presentation, contributing to its accessibility in both domestic and overseas venues.

Box office and financial performance

People Will Talk earned $2.1 million in rentals from the U.S. and , securing its place among the top 20 grossing films of 1951. Produced on a budget of $1.5 million, the movie achieved profitability, yielding an approximate 40% based on domestic rentals alone, positioning it as a solid commercial performer but not a blockbuster on the scale of contemporaries like . In terms of market breakdown, the film resonated strongly in urban areas, where audiences appreciated its sophisticated dialogue and , but saw softer results in rural theaters, likely due to the provocative elements involving unwed and professional controversy. The theatrical release strategy contributed to these initial earnings by prioritizing major city premieres to capitalize on Grant's appeal.

Narrative elements

Plot summary

Dr. Noah Praetorius, a progressive physician and known for his holistic and unorthodox medical practices, encounters Higgins, a pregnant unwed who collapses during one of his lectures. When later attempts upon learning of her , Praetorius saves her life and provides compassionate care, leading her to fall in love with him; the two marry shortly thereafter despite the swiftness of their romance. Praetorius's rival, Dr. Rodney Elwell, suspicious of his colleague's methods and the enigmatic presence of Praetorius's devoted companion, Mr. Shunderson—a silent, imposing figure who serves as both assistant and protector—launches an investigation that culminates in a formal university hearing to scrutinize Praetorius's professional conduct. During the proceedings, Shunderson breaks his silence to reveal a shocking truth from Praetorius's past: as a boy, Praetorius endured severe abuse from his tyrannical father, whom young fatally shot in ; Shunderson, out of loyalty, confessed to the crime and served fifteen years in prison to shield the child. With the revelation exonerating Praetorius and validating his character, the hearing concludes in his favor just as goes into labor and gives birth to a healthy . The family later attends a where Praetorius, in a moment of inspiration, takes the podium to conduct Brahms's , marking a harmonious resolution to their trials.

Cast and characters

Cary Grant portrays Dr. Noah Praetorius, a charismatic and unorthodox physician who employs holistic healing methods at a university medical school, challenging established medical conventions with his compassionate, patient-centered approach. Grant's performance infuses the role with effortless charm and subtle humor, blending self-effacing wit with authoritative conviction as Praetorius navigates professional scrutiny and personal entanglements, ultimately emerging vindicated in his principles. His character's arc traces a journey from facing institutional accusations to affirming his innovative practices through resilience and moral clarity. Jeanne Crain plays Deborah Higgins, a distraught young medical student pregnant out of wedlock, whose emotional turmoil leads her from profound despair to finding solace and strength in unexpected love. Crain delivers a poised and empathetic performance, capturing Deborah's vulnerability and gradual evolution into maternal confidence without veering into , highlighting her transition through pivotal personal revelations. Finlay Currie embodies Mr. Shunderson, the enigmatic and loyal companion to Praetorius, a hulking figure with a shadowed past involving and redemption, whose steadfast support underscores themes of unwavering . Currie's restrained, brooding portrayal reveals layers of moral complexity, culminating in a poignant disclosure that affirms his devotion and resolves his own haunted history. Hume Cronyn appears as Dr. Rodney Elwell, a rigid and envious embodying institutional , whose petty investigations into Praetorius provide a comedic through his scheming frustrations. Cronyn's sharp, delightfully acerbic performance turns Elwell into a memorable foil, his small-minded antagonism amplifying the film's satirical edge on professional rivalries. Among the secondary characters, Walter Slezak's Professor Lionel Barker serves as a supportive colleague to Praetorius, adding levity through his affable scheming, while Margaret Hamilton's Sarah Pickett injects humor as the gossipy housekeeper whose brusque demeanor and revelations contrast the doctor's empathy.

Music and score

The musical score for People Will Talk was composed and conducted by , who served as musical director for the production. Newman's score features orchestral arrangements of classical pieces, blending romantic and dramatic motifs to provide emotional depth through rather than original songs. Key integrations include ' Academic Festival Overture, featured in the film's concluding concert sequence, and Richard Wagner's Prize Song from , employed during romantic moments. These adaptations were conducted by Newman with the , emphasizing seamless narrative enhancement.

Analysis and themes

Key themes

People Will Talk explores through the contrasting philosophies of Dr. Noah Praetorius and his detractor, Dr. Rodney Elwell. Praetorius advocates a holistic approach to care, emphasizing the treatment of both mind and body to achieve true , as seen in his clinic's patient interactions that resemble Socratic dialogues fostering emotional . In opposition, Elwell represents medical rigidity, prioritizing scientific and institutional protocols over individualized , critiquing the era's shift toward standardized practices that often neglect patients' psychological needs. This tension highlights ethical dilemmas, such as Praetorius's decision to deceive a about her to avert , underscoring the moral complexities of beneficence versus truth-telling in . The film addresses social scandals and compassion by challenging 1950s taboos surrounding unwed pregnancy, attempted suicide, and personal redemption, particularly through the experiences of female characters navigating societal judgment. Deborah's out-of-wedlock pregnancy leads to her suicide attempt, reflecting the era's harsh moral norms on women's sexuality and autonomy, yet Praetorius responds with empathy by marrying her and prioritizing her emotional recovery over scandal. This narrative arc promotes compassion as a counter to gossip and stigma, portraying redemption as attainable through understanding rather than condemnation, and critiques the restrictive gender roles that confined women to traditional expectations. Themes of forgiveness and hidden pasts emerge prominently in the subplot involving Shunderson, whose backstory involves a botched execution following a for a killing in , evoking questions of and flaws in the justice system. Praetorius extends mercy by employing and supporting Shunderson despite his concealed history, advocating for judgment tempered by humanity and illustrating how concealed truths can foster personal growth when met with . This element underscores the film's broader call for over punitive retribution, aligning with its compassionate worldview. A critique of permeates the hearing sequences, which satirize institutional witch-hunts and without explicit political allegory. The faculty's scrutiny of Praetorius, driven by Elwell's jealousy, parallels mid-20th-century pressures for ideological uniformity, evoking the McCarthy era's inquisitorial tactics, though director maintained the story was not intentionally political. These scenes warn against the dangers of collective suspicion eroding individual integrity, emphasizing the value of independent thought in professional and social spheres.

Directorial style and influences

Joseph L. Mankiewicz's directorial style in People Will Talk is characterized by its emphasis on dialogue-driven comedy, drawing from his acclaimed approach in films like All About Eve (1950), for which he won the Academy Award for Best Writing, Screenplay. The film employs witty banter and eloquent exchanges to deliver social satire, as seen in scenes where characters engage in logical, Socratic-style debates that critique societal norms and professional ethics. This technique echoes the screwball comedy tradition, with rapid-fire repartee reminiscent of classics like The Philadelphia Story (1940), where verbal sparring underscores class tensions and romantic entanglements, though Mankiewicz infuses it with a more refined, theatrical polish. Visually, Mankiewicz employs subtle through , framing, and staging to heighten mystery and emotional depth, particularly around the enigmatic figure of Shunderson, portrayed as a constant, shadowy companion to Dr. Praetorius that builds intrigue without overt exposition. The film's pacing balances these elements, mixing farcical detours—such as eccentric discourses on model trains and symphony conducting—with dramatic confrontations, creating a digressive yet cohesive that shifts from satirical levity to introspective tension. The film's structure draws from Curt Goetz's 1932 German play Doctor Med. Hiob Prätorius, retaining key elements like the faculty hearing climax while infusing American optimism and personal insights from Mankiewicz's own experiences with medical institutions. Mankiewicz's background in scriptwriting and production, honed through years at and , manifests in ensemble blocking that evokes theatrical staging, with layered interiors probing psychological spaces among the cast. In terms of innovations, People Will Talk blends with ethical drama, presenting a fable-like on holistic and that leavens serious ideas with , while navigating the 1951 Hays Code's restrictions on topics like unwed and through implied tensions and revisions demanded by censors. This genre fusion pushes boundaries subtly, using the protagonist's moral uprightness to soften potentially controversial elements, resulting in an aesthetically sophisticated work that critiques conformity without direct confrontation.

Reception and legacy

Contemporary critical reception

Upon its release in August 1951, People Will Talk received generally positive reviews from critics, who praised its witty script, strong performances, and blend of humor and social commentary, though some noted inconsistencies in tone. of lauded the screenplay by as sharp and erudite, describing the film as a "merry melange of , mystery and... philosophical code" that injects chuckles into an adult story while railing against callousness in . Crowther highlighted Cary Grant's portrayal of the unorthodox doctor Noah Praetorius as an "effective mixture of and merriment," though he critiqued the script for being occasionally biased and taking too long to reach its conclusions, resulting in an uneven pace. The trade publication Variety, in a review by Brogdon, echoed this enthusiasm, calling the production a "well-polished presentation, slickly cast and smoothly turned out" with intelligent entertainment value and strong potential for adult audiences. Brogdon commended Mankiewicz's direction for skillfully melding serious themes like with comedic elements, particularly in the climactic trial scene, and praised the ensemble cast, including Grant and , for their assured performances. The review emphasized the film's appeal through its humorous dialogue and effective , which expanded the theatrical source material into a visually engaging . Overall, the 1951 critical consensus celebrated the film's wit and humanity, with outlets like Time magazine noting its social insights into medical practices and personal ethics amid post-war American life. However, some reviewers criticized its occasional sentimentality and evasive handling of sensitive topics, such as unwed pregnancy, which was seen as progressive yet constrained by Hollywood's Production Code censorship. The film earned general acclaim but received no major Academy Award nominations, only a Writers Guild of America nod for Best Written Comedy. Debates arose over its portrayal of pregnancy and ethical dilemmas in medicine, viewed by some as boldly challenging conventions while others found it overly idealistic and indirect under the era's moral guidelines.

Modern assessment and cultural legacy

In contemporary evaluations, People Will Talk holds an 88% approval rating on , based on eight critic reviews, with praise centered on its prescient social commentary that remains relevant decades later. Scholars and film historians have reevaluated the film as a sharp critique of McCarthyism, highlighting director Joseph L. Mankiewicz's direct assault on the era's witch-hunt tactics through the story's investigative subplot. This perspective positions it as an underrated entry in Mankiewicz's oeuvre, often compared to his earlier works like for its blend of wit and social insight, though it has gained more appreciation in retrospective analyses for its bold narrative risks. The film's cultural impact extends to discussions of medical humanism, where it has been employed in educational contexts to illustrate holistic care and ethical dilemmas in . Occasional revivals, such as its screening in the 2014 as part of a Mankiewicz , underscore its enduring appeal in cinematic circles. Since 2006, 20th Century Fox has made the film available on DVD, with subsequent Blu-ray editions, and it is available for streaming on services such as FlixFling or free with ads on Mometu, and for rent or purchase on platforms including Amazon Video and Apple TV (as of November 2025), broadening access for modern audiences. Within Cary Grant's filmography, People Will Talk is frequently overlooked amid his more commercially celebrated roles, yet it is lauded for subtly addressing taboo subjects like hints of abortion and opposition to the death penalty, themes that challenge 1950s conventions without explicitness. No direct remakes exist, but its exploration of unplanned pregnancy and societal judgment echoes in later films such as Juno (2007), which similarly navigates personal choice amid stigma.

References

  1. https://www.tcm.com/tcmdb/title/86482/people-will-talk
  2. https://www.rottentomatoes.com/m/people_will_talk
  3. https://www.imdb.com/title/tt0043915/awards/
  4. https://unrestrictedtheatre.co.uk/how-to-die-laughing/
  5. https://www.imdb.com/title/tt0042480/
  6. https://variety.com/1950/film/reviews/people-will-talk-1200416914/
  7. https://www.dvdtalk.com/dvdsavant/s1067talk.html
  8. http://classicmovieman.blogspot.com/2020/08/cary-grant-and-jeanne-crain-learn-that.html
  9. https://catalog.afi.com/Catalog/MovieDetails/50245
  10. https://www.imdb.com/title/tt0043915/fullcredits/
  11. https://www.nytimes.com/1951/08/30/archives/the-screen-three-newcomers-on-local-scene-people-will-talk-novelty.html
  12. https://www.imdb.com/title/tt0043915/releaseinfo/
  13. https://www.imdb.com/title/tt0043915/
  14. https://archive.org/details/variety185-1952-01
  15. https://academic.oup.com/book/33530/chapter/287880748
  16. http://www.filmreference.com/Writers-and-Production-Artists-Me-Ni/Newman-Alfred.html
  17. https://www.carygrant.net/reviews/people.html
  18. https://www.gramophone.co.uk/features/article/hollywood-s-super-orchestra
  19. https://www.filmcomment.com/blog/nyff-diary-2-people-will-talk/
  20. https://digitalcollections.drew.edu/UniversityArchives/ThesesAndDissertations/CSGS/DMH/2015/Flynn/openaccess/KCFlynn.pdf
  21. https://digitalcommons.fiu.edu/cgi/viewcontent.cgi?article=3236&context=etd
  22. https://mubi.com/en/notebook/posts/notebook-primer-screwball-comedy
  23. https://www.sensesofcinema.com/2005/great-directors/mankiewicz/
  24. https://www.imdb.com/title/tt0043915/awards
  25. https://pmc.ncbi.nlm.nih.gov/articles/PMC4740617/
  26. https://www.filmlinc.org/daily/nyff-shorts-revivals-joseph-l-mankiewicz-retrospective/
  27. https://www.amazon.com/People-Will-Talk-Cary-Grant/dp/B0000DD780
  28. https://www.justwatch.com/us/movie/people-will-talk
  29. https://suddenlyashotrangout.com/2012/09/28/the-inessentials-people-will-talk/
  30. https://www.gradesaver.com/juno/study-guide/themes
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