Twentyish Sally Kelton is unhappy at home and in the drab town in which she lives, until she meets roving musician Steve Ryan. Sally falls for Steve, but to Steve, she’s just another fling before he heads to another town. Sally decides to “pull up stakes” and heads on a bus to Steve’s next stop. On the road, she meets Drew Baxter, owner of a gaseteria in the town where she’s heading. Drew sets Sally up with a room at a local boarding house and a job at his business. Try as he might, Drew can’t win Sally’s heart from Steve, who has remained indifferent to Sally since her arrival. When Steve heads off to South America, Sally is even more despondent—especially after she learns that she’s pregnant with his child. —IMDb
Ida Lupino (4 February 1918 – 3 August 1995) was an English-American film actress and director, and a pioneer among women filmmakers. In her forty-eight year career, she appeared in fifty-nine films, and directed nine others. She also appeared in episodic television fifty-eight times and directed fifty other episodes. In addition, she contributed as a writer to five films and four TV episodes.
Lupino was born into a family of performers. Her father, Stanley Lupino, was a music-hall comedian, and her mother, Connie Emerald, was an actress. As a girl, Ida was encouraged to enter show business by both her parents and her uncle, Lupino Lane. She made her first movie appearance in 1931, in The Love Race, and spent the next several years playing minor roles.
It was after her appearance in The Light That Failed in 1939 that Lupino began to be taken seriously as a dramatic actress. As a result, her parts improved during the 1940s and she began to describe herself… read more
In the six low-budget films Lupino directed for the independent production company she co-founded after breaking free from Warners' clutches, her goal was to offer a feminist viewpoint on relevant social issues, especially those impacting women. In Not Wanted, on which Lupino took over the directorial reigns very early on from an ill Elmer Clifton, she poignantly deals with a subject that was very much a taboo in the more conservative postwar society (and one Hollywood still seems to have trouble with): unwed and unwanted pregnancy. Co-written by a soon to be blacklisted Paul Jarrico, this realistically rendered melodrama, whose lone striking visual touch is a series of disorienting point-of-view shots during a key sequence, is still awaiting a proper discovery (unfortunately, the film ended up falling into the wrong hands and was turned into an exploitation flick thanks to additions such as Caesarian childbirth footage!).