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Take Her, She's Mine (1963)
A child belongs to a parent for a little bit.
Daddy awakens to his daughter's "dishiness." Daughter has developed into virgin teen spirit bait. Sandra Dee tranquilizes, applying liberation, sexual frustration and obligation. She's the future princess men built castles for.
Daddy goes commando when she moves to college. Stating in a letter about feeling the fanny flutters and wanting to lose her virginity, daddy flies to her on demand, insinuates her roomies are "wetbedders" because they work late, upholds his politics, acquaints with international sex workers, runs naked and suffers from morality checks. He ignores his job, his wife and that other child. He was never a pervert...because he was Jimmy "fuckin'" Stewart.
Mr. Stewart opens his mind to new thinking and growing with the politics of sexual freedom, free speech and protest. When the camera and his technique meet, they click.
College is where politics are worn and sex explodes. The environment consisted of an army of wolves scratching and starving to eat some Red Riding Hood.
Audrey Meadows. She was so underutilized that I imagined her doing naughty things like fucking his best friend or renting other daughter out.
The music and esp. the songs, delighted with universal sounds. It borrowed from other cultures and uniquely respected them. I knew the songs and sang along because I was taught them at school. It helped me learn about a culture that I had yet to meet. It soothes the greeting.
Stewart dons the big guns for final agitation but silly chaos dilutes him. Can he stop a man from putting his daughter's flame out or return to the wife and that other sparkly one? Only another man can answer that. 30-Jul-2020