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Never Fear

Never Fear is a 1950 American drama film directed, co-written, and co-produced by Ida Lupino, focusing on a promising young dancer whose career is derailed by a polio diagnosis.^[1] The story centers on Carol Williams (played by Sally Forrest), a talented dancer engaged to her choreographer and partner Guy Richards (Keefe Brasselle), who suddenly contracts polio just as they prepare for a major professional breakthrough, leading to her paralysis, depression, and a challenging rehabilitation process at a sanitarium.^[2] Released amid the height of the polio epidemic in the United States, the film explores themes of chronic illness, emotional recovery, and strained relationships, with supporting performances by Hugh O'Brian and others.^[3] Co-written and co-produced by Collier Young, Never Fear (also known as The Young Lovers) runs 82 minutes and was made under Lupino's independent production company, The Filmmakers, marking her second directorial effort after Not Wanted (1949).^[1] Drawing from Lupino's own experience with polio contracted in her adolescence, the film offers a psychologically probing depiction of coping with disability, emphasizing realism in its portrayal of medical treatment and personal resilience.^[4] Critically, it has been praised for Lupino's sensitive handling of social issues, though contemporary reception was mixed, reflecting its no-frills, documentary-style approach to a then-prevalent public health crisis.^[5]

Background and development

Historical context

The polio epidemic in the United States intensified during the late 1940s and early 1950s, marking a period of widespread public health crisis that particularly affected children, teenagers, and young adults. Between 1948 and 1952, annual reported cases surged, reaching a devastating peak of over 58,000 in 1952 alone, with more than 3,000 deaths that year. This outbreak disrupted communities nationwide, closing public swimming pools, theaters, and schools as precautionary measures to curb transmission, while the disease's unpredictable nature—often striking during summer months—instilled pervasive anxiety among families. Young adults, including those in physically demanding professions like performing arts, faced heightened vulnerability, as the virus targeted the central nervous system, leading to paralysis that severely impaired mobility and professional livelihoods.^[6]^[7] The fear and stigma associated with polio were profound, compounded by quarantine protocols that isolated infected individuals and their households, often leading to social ostracism and economic hardship. Patients with severe respiratory involvement relied on iron lungs—massive mechanical respirators—to sustain breathing, with thousands of these devices funded and distributed by the March of Dimes, a nonprofit organization founded in 1938 to support polio research, treatment, and rehabilitation efforts. This stigma extended to visible disabilities like braces and crutches, which marked survivors as perpetual reminders of the disease's terror, fostering a culture of whispered dread and avoidance in everyday interactions.^[8]^[9] In 1949, the United States recorded 42,033 polio cases—the highest total since the 1916 epidemic—highlighting the disease's escalating toll on public health. This surge disproportionately impacted mobility for victims, especially young adults in active careers such as dancing, where paralysis could abruptly end professional pursuits reliant on physical agility and performance. The era's emphasis on rehabilitation began to shift toward proactive interventions, underscoring the broader societal push to restore function amid ongoing epidemics.^[10] By 1950, treatments evolved to include intensive physical therapy regimens, notably at facilities like the Kabat-Kaiser Institute in California, which pioneered resistive exercises and neuromuscular facilitation techniques to aid recovery from paralysis without the passive immobilization of earlier methods. These approaches, developed by Dr. Herman Kabat and physical therapist Margaret Knott, represented a significant advancement in post-acute care, focusing on rebuilding strength and coordination for polio survivors. Ida Lupino's interest in directing films on social issues like disability stemmed from her commitment to exploring sociological themes through cinema.^[11]^[12]

Pre-production

Ida Lupino's directorial career officially began with Never Fear (1950), following her uncredited intervention on Not Wanted (1949) after its original director, Elmer Clifton, suffered a heart attack during production.^[13] This transition positioned Lupino as one of the few women directing Hollywood features at the time, driven by her desire to address social issues through independent filmmaking.^[14] The screenplay was co-written by Lupino and her then-husband, Collier Young, under the banner of their newly formed production company, The Filmmakers (also known as Lupino Pictures), which aimed to produce low-budget films tackling taboo subjects.^[13] The project had a modest budget of $151,000, reflecting the company's commitment to cost-effective, issue-driven narratives amid the ongoing polio epidemic in the United States. To ensure authenticity in depicting polio recovery, Lupino drew from her own experience contracting the disease at age 16 and conducted extensive research at the Kabat-Kaiser Institute in Santa Monica, California, a pioneering rehabilitation facility opened in 1948.^[11] She incorporated consultations with polio survivors and actual patients from the institute, integrating real rehabilitation exercises and environments to blend dramatic storytelling with documentary-style realism.^[13]^[14] For the lead role of the afflicted dancer, Lupino cast Sally Forrest, a former MGM contract player with a strong background in jazz and ballet, selected specifically for her ability to convey the physical and emotional rigors of the character's challenges through authentic movement and vulnerability.^[15] This choice underscored the film's emphasis on realistic portrayal over stylized performance.^[16]

Filming and production

Principal photography

Principal photography for Never Fear commenced in late 1949, spanning mid-September to early October, with the majority of filming occurring at the Kabat-Kaiser Institute in Santa Monica, California, and additional scenes shot at California Studio.^[17] The production schedule lasted approximately three weeks, reflecting the independent nature of The Filmakers company founded by director Ida Lupino and Collier Young.^[17] Lupino's directorial approach emphasized a semi-documentary realism, informed by her own experience with polio and pre-production observations at the Kabat-Kaiser Institute, which shaped authentic shot selections depicting rehabilitation.^[18] She incorporated natural locations at the institute and employed non-professional polio patients as extras, including in a notable wheelchair square dance sequence, to convey genuine emotional depth and communal resilience.^[3] Cinematographer Archie Stout captured these moments in black-and-white with a crisp, location-based aesthetic, prioritizing intimate portrayals of psychological and physical recovery over dramatic spectacle.^[4] Filming faced challenges from the project's modest $151,000 budget, sourced from personal funds and associates without major studio support, which necessitated minimal sets and efficient on-location work.^[17] Coordinating dance sequences for lead actress Sally Forrest proved particularly demanding, as she portrayed her character's fluid pre-illness performances alongside constrained post-polio movements to highlight the transformative impact of the disease.^[19] The final runtime was edited to 82 minutes, preserving the film's focused psychological intensity and narrative momentum.^[17]

Locations and technical details

The primary filming location for Never Fear was the Kabat-Kaiser Institute in Santa Monica, California, where the recovery and therapy scenes were captured to convey authentic rehabilitation environments, with many extras played by actual patients at the facility.^[5]^[17]^[19] This choice enhanced the film's semi-documentary style, as the institute's real spaces and routines informed the portrayal of polio treatment.^[18] Filming also incorporated limited studio work at California Studio in Hollywood for sequences such as dance rehearsals and select interior emotional moments, aligning with the constraints of the low-budget independent production that avoided extensive location shoots beyond the institute.^[5] The overall approach prioritized efficiency, reflecting The Filmakers company's focus on cost-effective social-issue filmmaking.^[4] Technically, the film was produced in black-and-white on 35mm film stock, employing the standard Academy aspect ratio of 1.37:1 and monaural sound recording that incorporated early location audio techniques to promote naturalism in dialogue and ambient effects.^[5] Cinematographer Archie Stout, known for his work on location-based projects, contributed to the intimate visual style of the therapy sequences through careful framing and lighting that emphasized emotional realism.^[4] The production operated with a small crew of approximately 20-30 members, typical for an independent venture under The Filmakers, allowing flexibility in the confined spaces of the institute.^[5] In post-production, editor William H. Ziegler focused on rhythmic pacing to mirror the protagonist's emotional journey, eschewing special effects in favor of straightforward cuts that heightened the narrative's raw progression.

Cast

Lead performers

Sally Forrest starred as Carol Williams, the film's protagonist, a talented young dancer whose career and life are upended by a polio diagnosis. A former professional dancer who began her career as a child and was signed to a contract by MGM at age 22, Forrest drew on her background in jazz and ballet to perform the demanding dance sequences in the film.^[20] Her physical training informed the authentic portrayal of Carol's pre-illness vitality and the subsequent challenges of rehabilitation.^[21] Keefe Brasselle portrayed Guy Richards, Carol's fiancé, dance partner, and choreographer, whose supportive yet strained relationship with her drives much of the emotional tension. Brasselle, who had experience in musical productions including staging numbers for films like The Eddie Cantor Story, contributed to the realism of the dance scenes through his familiarity with choreography and performance.^[22] This background allowed him to effectively depict Guy's professional expertise and personal devotion amid the couple's crisis.^[18] Hugh O'Brian played Len Randall, a fellow polio patient at the rehabilitation center who becomes Carol's hospital love interest and provides crucial emotional support during her recovery. This marked an early screen role for O'Brian, whom director Ida Lupino cast after spotting him in a small Los Angeles theater production, highlighting his ability to convey quiet empathy and resilience in the character's interactions with Carol.^[23] O'Brian's portrayal emphasized the dynamic of mutual encouragement among patients, drawing from his own post-war transition into acting.^[24] Lupino selected Forrest, a relative newcomer and her protégé, for the lead to ensure authenticity in the role's physical and emotional demands, prioritizing realistic depiction over star appeal.^[15] The production deliberately avoided major stars, keeping the focus on the story's intimate exploration of disability and relationships rather than celebrity draw, in line with the low-budget ethos of her independent Filmmakers company.^[25]

Supporting actors

The supporting cast of Never Fear features several performers who enhance the film's exploration of emotional and social challenges faced by the protagonist. Eve Miller plays Phyllis Townsend, a supportive friend who helps navigate the personal relationships strained by illness, providing moments of encouragement amid the central conflict. Lawrence Dobkin portrays Dr. Middleton, the compassionate physician who delivers the polio diagnosis and oversees rehabilitation efforts, underscoring the medical and psychological aspects of recovery. Rita Lupino, the director's sister, appears as Josie, Carol's hospital roommate, whose candid conversations offer peer solidarity and insights into shared experiences of disability. Herbert Butterfield depicts Walter Williams, Carol's father, embodying familial concern and the practical strains on loved ones during crisis. These secondary characters contribute to the narrative's emotional depth by illustrating family dynamics and the camaraderie among patients, allowing the story to delve into themes of resilience and adaptation without dominating the primary arcs. The ensemble includes approximately 20 speaking roles, prioritizing naturalistic performances and authenticity over high-profile names to reflect the everyday realities of polio's impact. Other patients are portrayed by non-actors recruited from the Kabat-Kaiser Institute, lending genuine texture to the sanitarium sequences. Real polio patients also served as extras to bolster the film's commitment to realism.^[26]^[17]

Music and soundtrack

Featured songs

The featured songs in Never Fear (1950) consist of two original compositions created specifically for the film to enhance its dramatic emotional beats without relying on licensed popular tunes, aligning with the production's independent, low-budget ethos under The Filmmakers company. These vocal pieces, performed by the lead actors, underscore key character moments tied to the protagonist Carol's life as a dancer, maintaining the film's focus on intimate drama rather than elaborate musical sequences. An instrumental piece, "Didn't You Know" (music by John Franco), is used without vocals in a dance sequence, with its melody recurring in the underscore.^[17]^[27] "Why Pretend," with music and lyrics by John Franco, is performed by Keefe Brasselle as Guy Richards, who sings it at the piano during the scene where Carol (Sally Forrest) first exhibits symptoms of her illness, capturing a moment of tentative denial and vulnerability in their relationship. The song's melancholic melody also recurs instrumentally in the film's underscore, composed by Leith Stevens.^[28]^[29] "Guaymas," a novelty song with music and lyrics by John Franco and William Earley, appears in a picnic sequence as a lighter interlude, evoking themes of temporary escape and fantasy amid the story's mounting tension; it is performed by Brasselle with Franco providing guitar and vocals in the scene. This piece, like "Why Pretend," was written on commission for the production to fit its narrative needs cost-effectively.^[17]^[29]

Musical score

The musical score for Never Fear was composed by Leith Stevens, an established Hollywood composer known for his contributions to low-budget dramas and genre films in the early 1950s.^[30]^[17] Stevens crafted a minimalist underscore to align with director Ida Lupino's semi-documentary approach, prioritizing restraint and subtlety to avoid overshadowing the film's realistic portrayal of polio and rehabilitation.^[31]^[32] This economical style, reflective of The Filmakers' independent production constraints, employed primarily piano and strings to evoke emotional depth without ornate orchestration.^[33] Key motifs in the score recur to symbolize the protagonist's isolation and gradual recovery, with subtle dissonance heightening tension in hospital and therapy sequences.^[33] These elements underscore the psychological strain of illness, using sparse, at times out-of-tune piano phrases to mirror the character's inner turmoil and physical limitations. The score's deliberate understatement reinforces Lupino's emphasis on authenticity, distinguishing Never Fear from more stylized Hollywood productions of the era and amplifying the narrative's focus on human resilience.^[31] It briefly integrates with the featured songs during scene transitions to maintain narrative flow, ensuring the music serves the story's emotional tones without drawing undue attention.^[30]

Release

Distribution and premiere

Never Fear was released in the United States in January 1950 by Eagle-Lion Films, marking the initial theatrical run for this independent production.^[17] The film, completed in late 1949 following principal photography, entered distribution as a low-budget drama addressing the personal and societal impacts of polio.^[5] Distribution was handled through Eagle-Lion's States Rights system, which involved selling exhibition rights to independent theaters rather than a wide national rollout, reflecting the constraints of its modest budget and the independent status of producer The Filmakers, Inc.^[14] This approach limited screenings primarily to art-house and smaller independent venues, positioning the film as a social drama focused on disability and recovery to appeal to audiences interested in issue-driven narratives.^[14]^[25] The premiere details are not extensively documented, with no records of major festival screenings; events were low-key, centered in Los Angeles and aligned with contemporary polio awareness efforts to underscore the film's thematic relevance.^[5] In some international and subsequent domestic markets, the title was altered to The Young Lovers to mitigate the perceived heaviness of the polio subject matter and broaden appeal.^[17]^[5]

Box office performance

Never Fear was produced on a modest budget of $151,000, self-financed by Ida Lupino and Collier Young using personal funds and contributions from friends. The film achieved only fair box office performance, rated as such by trade publication Harrison's Reports in its evaluation of Eagle-Lion releases, and was ultimately deemed unprofitable.^[34]^[14] The picture's niche subject matter, centered on a dancer's battle with polio and rehabilitation, limited its broad commercial appeal amid heavy competition from major studio blockbusters in 1950, such as Annie Get Your Gun and Father of the Bride, which dominated the year's top-grossing charts. Eagle-Lion's distribution challenges, including a tenuous states rights system, further hampered its reach, confining the initial run primarily to urban areas.^[14] In the long term, Never Fear saw no significant re-releases until a 2K restoration by Kino Lorber in 2019 as part of an Ida Lupino filmmaker collection. Among Lupino's early independent productions through The Filmmakers, it shared modest returns similar to Outrage (1950), which also faced financial strain on its $250,000 budget despite artistic ambitions.^[35]^[36]

Reception and legacy

Contemporary critical response

Upon its 1950 release, Never Fear garnered critical attention for its earnest and documentary-like approach to the polio epidemic, a timely public health crisis in the post-World War II era. Critics praised the film's psychological insight into the protagonist's emotional and physical rehabilitation, highlighting Ida Lupino's direction as a bold step for independent cinema outside the studio system. The production's modest, no-frills style was seen as enhancing its realism, avoiding overt sensationalism in favor of compassionate character study.^[14] Despite this acclaim, the film faced criticisms for occasional sentimentality and deliberate pacing that some felt slowed the narrative momentum. Reviews noted the romance subplot as occasionally veering into melodramatic territory, diluting the overall sobriety. Limited distribution through a tenuous states rights system restricted its visibility and contributed to underwhelming commercial performance.^[14] The contemporary consensus leaned positive for its sensitive handling of disability and independence, positioning it as a significant entry in Lupino's emerging oeuvre of social-issue dramas. Modern aggregate user ratings average 6.3 out of 10 on IMDb (as of 2025).^[1]

Modern assessments and influence

In recent years, a restored print of Never Fear has brought renewed attention to Ida Lupino's second directorial feature, with a 2019 screening at the Museum of Modern Art's "To Save and Project" festival prompting fresh critical acclaim. The New York Times review described the film as a "tough-minded" feminist drama that eschews sentimentality in favor of raw emotional depth, centering on protagonist Carol's (Sally Forrest) unsparing confrontation with polio's physical and psychological toll.^[37] Critics praised its proto-documentary style, evident in on-location shooting at a real rehabilitation center with actual patients, which underscores female agency in the face of disability by depicting Carol's determined rehabilitation and relational independence without romanticized resolution.^[37] Academic analyses position Never Fear as an early milestone in women-directed cinema addressing health crises, with Lupino—herself a polio survivor—using the film to explore the intersection of gender, disability, and societal conformity in post-World War II America. Scholars highlight its allegorical treatment of polio not merely as illness but as a catalyst for personal reinvention, marking Lupino's innovative approach to taboo subjects like chronic disability and women's autonomy in crisis.^[38] Lupino's work on Never Fear solidified her legacy as a trailblazing female director in Hollywood, where she helmed five feature films through her independent production company, The Filmmakers, tackling social issues overlooked by major studios. Restored prints have since been featured at prestigious venues, including a 2012 series of screenings at the Museum of Modern Art, which celebrated the film's personal resonance for Lupino and its stylistic restraint in portraying vulnerability.^[39] Culturally, Never Fear serves as a precursor to modern disability rights narratives by humanizing the lived experience of impairment and challenging passive victimhood tropes, influencing subsequent films that prioritize psychological agency over tragedy. Modern retrospectives reflect this enduring impact.

References

[1]
Never Fear (1950) - IMDb
Rating 6.3/10 (869) A dancer who has just gotten engaged to her partner and choreographer and is about to embark on a major career is devastated to learn that she has contracted ...
[2]
Never Fear | Rotten Tomatoes
Rating 33% (3) Ida Lupino's Never Fear is about a young dancer, Carol Williams, whose life is on the upswing. She has just gotten engaged to her boyfriend and choreographer, ...
[3]
Never Fear - The Criterion Channel
Directed by Ida Lupino • 1950 • United States Starring Sally Forrest, Keefe Brassellle, Hugh O'Brian With the polio epidemic striking terror in the hearts ...
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NEVER FEAR (US, 1949), Director: Ida Lupino
Ida Lupino, who herself had been stricken with polio as an adolescent, creates in NEVER FEAR is a psychologically probing look at coping with chronic illness.
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Never Fear (1950) - Turner Classic Movies - TCM
For Never Fear, Lupino dealt with polio and the rehabilitation process as a young dancer (Sally Forrest) on the verge of a career breakthrough suddenly loses ...
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Distribution of Polio in the United States, 1952 - DocsTeach
In 1952 alone, there were an estimated 58,000 polio cases in the United States leading to around 3,000 deaths.Missing: 1948-1952 | Show results with:1948-1952
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Mar 27, 2020 · In the 1950s, the polio virus terrified American families. Parents tried “social distancing”—ineffectively and out of fear.
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During devastating polio epidemics, March of Dimes paid for and transported thousands of iron lungs to help patients breathe when their own muscles were ...Missing: stigma 1940s
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[PDF] Vital Statistics of the United States 1949 - CDC
The total number of poliomyelitis cases iu 1949 was 42,033, the highest total on record. The previous high year occurred in 1916 when there were nearly ...
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Jun 14, 2017 · When polio epidemics erupted, pioneering treatments by Dr. Herman Kabat improved quality of life and care for patients nationwide.
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How Ida Lupino lit a path for women directors and indie filmmakers ...
Feb 2, 2018 · Uncompromising in her vision “to make pictures of a sociological nature… to tackle serious themes and problem dramas,” Lupino would shoot on the ...Missing: motivations | Show results with:motivations
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Directed by Ida Lupino
### Summary of Pre-Production for *Never Fear* (1950)
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Apr 14, 2009 · Even when retitled The Young Lovers to gain additional attention at the box-office, Never Fear failed to earn back its production costs. However ...Missing: pre- transition<|control11|><|separator|>
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Sally Forrest, dancer lifted to dramatic roles by Ida Lupino, dies at 86
Mar 28, 2015 · Sally Forrest, a dancer who appeared in 1940s MGM musicals before being cast ... Lupino cast Forrest in two more films: “Never Fear” (1949) and “ ...Missing: background | Show results with:background
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Apr 7, 2015 · ... Never Fear (1950), in which she played a dancer stricken with polio ... Sally Forrest, actress: born San Diego, California 28 May 1928 ...
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Never Fear (1950). 81-82 mins | Drama | January 1950. Cast: Sally Forrest ... On 31 May 1949, HR noted that the film would be produced for Film Classics ...
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Ida Lupino. Never Fear (The Young Lovers). 1950 - MoMA
In addition to Never Fear, which was released at the height of the polio epidemic in the United States, Lupino's films dramatized social issues such as rape, ...
[19]
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Sally Forrest - Brian's Drive-In Theater
Lovely Sally Forrest began her career as a dancer while still a child. At the age of 22, MGM signed the young ingenue to a contract.
[21]
Sally Forrest, Actress and Protege of Ida Lupino, Dies at 86
Mar 25, 2015 · Sally Forrest, a dancer, actress and protege of Hollywood pioneer Ida Lupino who starred in the 1949 feature dramas Not Wanted and Never Fear, has died.Missing: biography | Show results with:biography<|separator|>
[22]
The Eddie Cantor Story (1954) - Turner Classic Movies - TCM
Eddie Cantor and his wife Ida arrive at Warner Bros. studios in Burbank, California, for a private screening of The Eddie Cantor Story .Missing: Fear | Show results with:Fear
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Hugh O'Brian — star of '50s TV's 'Wyatt Earp' - SFGATE
Sep 6, 2016 · But after actress Ida Lupino saw him in a play at a small Los Angeles theater, she cast him in “Never Fear,” a 1949 film she was directing, and ...
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Hugh O'Brian at Brian's Drive-In Theater
Born Hugh Krampe in Rochester, New York, on April 19, 1925, actor Hugh O'Brian grew up in Lancaster, Pennsylvania and Winnetka, Illinois.
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Oct 14, 2025 · A low-budget drama in which Not Wanted star Sally Forrest played a young dancer stricken with polio.Missing: timeline | Show results with:timeline
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Never Fear (1950) - Soundtracks - IMDb
Why Pretend. Written by John Franco. Performed by Keefe Brasselle (uncredited). [Sitting at the piano, Guy sings the song when Carol first becomes ill] · Guaymas.
[28]
[PDF] To Dance - World Radio History
can novelty song Guaymas, and he supplied the vocal track for. Keefe Brasselle for the sequence in which the latter sings the song. Why Pretend! ... in Never Fear ...
[29]
Never Fear (1950) - Turner Classic Movies
Composer · John Franco. Composer · Louis Germonprez ... Music · Archie Stout. Director of Photography ... Score: Leith Stevens Cast: Sally Forrest (Carol ...
[30]
Ida Lupino, Director - The Austin Chronicle
Oct 2, 1998 · She adopted a semi-documentary style and shot much of the film on the streets of Los Angeles. ... '” She next directed Never Fear (1950) ...
[31]
NEVER FEAR - Dennis Schwartz Reviews
Feb 10, 2023 · Never Fear is her illustrious debut as a director and co-writer with her husband Collier Young, and comes after she contacted in 1934 a mild ...<|control11|><|separator|>
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Nov 15, 2019 · Never Fear (1949). Never Fear seems to have been the first serious feature to focus on polio. Forrest and Brasselle are together again in the ...Missing: research | Show results with:research
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Filmo/Discography: Leith Stevens - SoundtrackCollector.com
Never Fear · Sun Sets at Dawn. 1951, No Questions Asked · When Worlds Collide ... Film Music Society FMS001, United States, CD. Roulette R 25073, United States ...Missing: score | Show results with:score
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[PDF] Harrison's Reports (1950)
Ida Lupino and Collier Young wrote the original screen play. Mr. Young ... Never Fear": Fair. "Sarumba": Poor. "Salt to the Devil" (formerly "Give Us ...
[35]
Ida Lupino: Filmmaker Collection Now Available from Kino Lorber
Sep 27, 2019 · Co-written and co-produced by Lupino and her partner Collier Young (The Bigamist) and wonderfully shot in black-and-white by Archie Stout (Fort ...Missing: cinematographer handheld<|control11|><|separator|>
[36]
Outrage (1950) | Rotten Tomatoes
Rating 61% (23) Despite a rocky financial performance, with a budget of $250,000 that put Lupino's independent studio, The Filmmakers, to the test, OUTRAGE's artistic triumph ...
[37]
Review: Revisiting a Film from Ida Lupino, Hollywood Star Turned ...
Jan 24, 2019 · In 1949, she began production on “Never Fear,” her official directorial debut. She had already quietly taken over a film, “Not Wanted,” when its ...Missing: pre- | Show results with:pre-
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Never Fear is not simply the story of a young dancer who falls victim to polio; rather, with Lupino's other films, it allegorizes the conflict between ...
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Nov 6, 2012 · Never Fear (The Young Lovers) reunited Sally Forrest and Keefe Brasselle, the stars of Not Wanted, Lupino's first directorial effort, in ...Missing: background | Show results with:background