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Party Girl

Party Girl

Crime · Drama · Romance · 1958

Slick lawyer Thomas Farrell has made a career of defending mobsters in trials. It's not until he meets a lovely showgirl at a mob party that he realizes that there's more to life than winning trials. Farrell tries to quit the racket, but mob boss Rico Angelo threatens to hurt the showgirl if Farrell leaves him.

Movie details

Party Girl

“You'll meet her at the roughest parties ...with the toughest guys in town!”

1958 Crime · Drama · Romance 1h 39m

Critical arithmetic

The consensus, allegedly.

IMDb

7.0 / 10

3.8K votes

Rotten Tomatoes

85 %

Tomatometer

TMDB

6.8 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

Slick lawyer Thomas Farrell has made a career of defending mobsters in trials. It's not until he meets a lovely showgirl at a mob party that he realizes that there's more to life than winning trials. Farrell tries to quit the racket, but mob boss Rico Angelo threatens to hurt the showgirl if Farrell leaves him.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Party Girl?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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The Paradine Case

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Where it lives

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Names above the title

The people responsible.

Directed by

Nicholas Ray

Written by

George Wells · Leo Katcher

Robert Taylor

Robert Taylor

Tommy Farrell

Cyd Charisse

Cyd Charisse

Vicki Gaye

Lee J. Cobb

Lee J. Cobb

Rico Angelo

John Ireland

John Ireland

Louis Canetto

Kent Smith

Kent Smith

Jeffrey Stewart

Claire Kelly

Claire Kelly

Genevieve Farrell

Corey Allen

Corey Allen

Cookie La Motte

Court is in session

Put Party Girl on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.