I note that one poster here has already noted the glaring holes in the plot though he or she might have added the fact that when, after a few months at most in Reform School Jean Kent escapes and attempts to reconnect with night-club owner Herbert Lom the doorman tells her that Lom is long gone and now has a club in Brighton. Cut to that same club in Brighton, up and running and clearly long-established. This is not only highly improbably but also essentially meaningless give that there was no reason plot-wise for this migration. On the other hand we have to be aware that audiences in the forties were far less demanding than we are today and as ample evidence suggests would swallow almost anything if the packaging was pretty enough. This is our old friend the Morality Tale writ large. Asked to 'have a word' with a confused young runaway (Diana Dors) before she is fully committed to a downward spiral, lady magistrate Flora Robson tells Dors what happened to good-time girl Jean Kent. This was, remember, the late forties and to paraphrase Raymond Chandler's remark that Alan Ladd was a small boy's idea of a tough guy Dors here is a virginal schoolgirl's idea of a tart. Jean Kent was a fine actress and only three or four years away from the best role of her career in the Terence Rattigan-Puffin Asquith The Browning Version and though all she had to do here was phone it in she did so via one of those white telephones beloved of Italian cinema. They wheeled out all the stalwarts of British cinema support groups and it was a fairly innocuous entry that did little harm and left no trace.
Review of Good-Time Girl
