Runaway Daughters

Runaway Daughters (1956) 

Jeff and Cheryl flee to L.A. to escape their problems only to find bigger problems in Runaway Daughters. 

Directed by Edward L. Cahn 
Written by Lou Rusoff 
Produced by Alex Gordon for Golden State Productions 

Cast 
Marla English as Audrey Barton 
Anna Sten as Ruth Barton 
John Litel as George Barton 
Lance Fuller as Tony Forrest 
Adele Jergens as Dixie Jackson 
Gloria Castillo as Angie Forrest 
Steve Terrell as Bobby Harris 
Mary Ellen Kay as Mary Rubeck 
Frank J. Gorshin as Tommy Burns 
Jay Adler as Mr. Rubeck 
Nicky Blair as Joe 
Maureen Cassidy as Maureen 
Reed Howes as Henry Stevenson 
Anne O'Neal as Miss Petrie 
Edmund Cobb as Private Detective 

A Golden State Production
An American International Picture 

You can stream Runaway Daughters on Pluto TV, Tubi, the Roku Channel, or rent on Prime Video. 

Visit our website - https://aippod.com/ and follow the American International Podcast on Letterboxd, Instagram and Threads @aip_pod and on Facebook at facebook.com/AmericanInternationalPodcast  

Our open and close includes clips from the following films/trailers: How to Make a Monster (1958), The Brain That Wouldn't Die (1962), I Was a Teenage Werewolf (1957), High School Hellcats (1958), Beach Blanket Bingo (1965), The Wild Angels (1966), It Conquered the World (1956), The Abominable Dr. Phibes (1971), and Female Jungle (1955)

Episode Transcript

(00:00):
We're not talking about actors. We mean a real monster. I brought her back. She'll live and I'll get her another body.

(00:07):
I know they're gonna catch me but don't let anyone see me like that! Please, doctor! Help me!
Biologically speaking, it's a primary importance that man should want to mate.
Hey, that's right!
You don't get all your kicks from surfing, do you?
We want to be free to ride our machines without being hassled by the man.
And we want to get loaded.
You think you're gonna make a slave of the world? I'll see you in Hell first!

(00:33):
The American International Podcast.
Are you ready?
Thank you for choosing the American International Podcast. My name is Jeff Markin.
My name is Cheryl Lightfoot.
And today if you are wah, wah, wah, wondering what our film is going to be, we will be covering Run, Run, Run, Runaway Daughters from 1956.
Is that a Del Shannon reference?

(00:54):
Yes.
Only you Jeff.
I didn't do the falsetto.
I wouldn't either.
Runaway Daughters was directed by Edward L. Cahn and written by Lou Rusoff and produced by Alex Gordon for Golden State Productions.
Runaway Daughters stars Marla English as Audrey Barton, Anna Sten as Ruth Barton, John Litel as George Barton, Lance Fuller as Tony Forrest, Adele Jergens as Dixie Jackson, Mary Ellen Kay as Mary Rubek, Gloria Castillo as Angie Forrest.

(01:22):
It also stars Jay Adler as Mr. Rubek, Steven Terell as Bobby Harris, Nicky Blair as Joe, Frank J. Gorshin as Tommy Burns, Maureen Cassidy as Maureen, Reed Howes as Henry Stevenson, Anne O'Neal as Miss Petrie, and Edmund Cobb as a private detective.
Runaway Daughters begins as so many of these old AIP movies do with a Jesse score from Ronald Stein and a view from a car racing through the Hollywood Hills.

(01:46):
I think they just have the stock footage that they keep using over and over again.
Then a car packed with teenagers parks in front of Audrey Barton's house.
They're making out commences immediately, but not all of it is consensual.
The couples here are Angela and Joe who are in the front seat and Audrey and Tommy and Mary and Bobby in the back seat.
Audrey calls Tommy and octopus with his many hands.

(02:07):
From the front seat, Angela tells Audrey that she's not supposed to resist and that's no way for a potential juvenile delinqued to act.
Spirited by this, Tommy once again jumps on Audrey and again she pushes him off her.
Angela tells Audrey that she's setting back Adolescent Psychology by 50 years.
Angie is setting women's rights back 50 years and they're already not great to begin with.
Mary as Joe the driver to get her home now, she's late.

(02:30):
Joe tells her that she needs to get married already then she can relax.
Tommy says that Bobby plans to talk to Mary's father about just that as soon as he gets whole level full of professed.
Then from inside Audrey's house the sounds of a party can be heard.
Angela suggests they crash it. She'd love to see those old squares when they're loaded.
The kids joke about the music that you're coming from the house and Tommy and Angie begin dancing the Charleston on the front lawn.

(02:51):
And everyone else claps along.
Tommy gets so enthusiastic that he crashes into Audrey's front door nearly blowing it off its hinges.
Audrey's dad opens the door to see the two kids making fun of their elders and then shuts it again.
Laughing, Angie and Tommy return to the car.
Audrey has gotten out of the car and Angie gets back in.
Tommy grabs Audrey but Audrey says she can find the door to her house on her own.

(03:12):
Tommy still insists on helping her.
Angie and Audrey do a short skit making fun of their teacher miss Petri to everyone's amusement.
And then the 14s leave Tommy and Audrey behind and drive away.
Tommy falls Audrey up the walk to the window of Audrey's house and they look at the party going on inside.
Tommy isn't pressed with the energy those old folks seem to have.
They're all dancing to the old time music.

(03:33):
And Tommy notices that Audrey's dad isn't dancing with her mom is Audrey cringes visibly.
Inside the house Audrey's mom Ruth gets an invitation to step outside to see the moon with her.
She's going to see the moon with Henry Stevenson who is again not Audrey's dad and they link out while the Audrey's dad is otherwise occupied.
Back on front though Audrey is resisting Tommy is insisting he get a good night kiss.

(03:55):
Nobody tells him good night just by talking.
He grabs her and she begs for him to let her go in the back of the house.
Henry Stevenson and Audrey's mother Ruth pick a seat outside and he's pushing her to finish her drink.
As Audrey literally fights off Tommy and breaks away, Ruth and Henry start kissing in the back.
Audrey runs out back to catch her mom in flagrant.
And Tommy sees it too and says that he went after the wrong Barton woman.

(04:18):
He should have asked out her mom.
Then he kind of cackles as he walks away.
I wrote cackles too.
That's funny.
Ruth looks up and sees Audrey staring at her.
She goes over to Audrey but Audrey runs inside.
Henry apologizes to Ruth but she shrugs it off.
It wasn't fatal she says.
They return to the party and then we go back to Joe and the others.
Joe's parking in front of Mary's place.

(04:40):
They've got the radio blaring so Mary tells them to turn it down.
Andrew reminds Mary to wipe off her lipstick.
Papa Rubik doesn't allow painted ladies here.
I'm going to take a moment to talk about the car they're driving.
There's things written all over it but we never get a good shot to really see it.
But at this time we can see there's an arrow pointing at the keyhole that says main entrance.
There's an eyeball on the side.

(05:01):
A lot of words painted on.
There's something attention.
Man at but it's cut off so you don't know what it is.
Work I think.
And that's just one side of the car.
It's painted all around.
We'll see parts a bit later.
I didn't write down what they wrote on it.
Mary runs to her front door, followed by Bobby.
Inside we see that Mr. Rubik has heard the car door slam.
Mary does a quick and incomplete assessment of her father's whereabouts

(05:23):
by peeking inside her front door and then closing it.
She tells Bobby her dad must be asleep and Bobby says every time he takes her home
it's like returning her to prison.
But Mary says she's used to it.
Bobby asks if she's told him about them yet.
She hasn't.
Bobby says they could just run away and get married.
But Mary says she couldn't do that.
You could if you loved me enough says Bobby.
Oh that line.

(05:45):
Mary asks how many ways can she prove that she loves him?
And she wants him to let her know what else she can do.
They embrace just as her dad swings the door open.
And to that is sight he asks.
My own daughter making love to one of her tramp friends.
Bobby tells Mary to go ahead and tell him about them now.
It's as good a time as any.
Tell me what asked Mary's father.
What I've been expecting to hear for the past year?
Am I going to become a grandfather maybe?

(06:07):
Is that it?
Mary's sob's pop please.
All popper rubect has to do is look at Mary and he sees her mother all over again.
And this is not a compliment.
Mary begs her pop to listen to her for once.
They want to get married.
Popper rubect gives him a worthless chuckle.
So you want to get married to dot dot dot.
And he asks Bob's name and then his age.
Bobby tells him he's 20 and Mary is 17 since popper rubect.

(06:30):
Lots of girls in high school are getting married.
And he says he's going into the service.
And there will be a place for her at every camp.
And they'll make it all right.
Rubic tells Bobby to go home and wipe his nose.
And if he sees him talking to his daughter again,
he'll take Bobby across his knee and lick him.
Pop is a freak.
Joe and Angela have been watching the proceedings from the car.
There's going to be a fight.
Angie says excitedly.

(06:52):
Bobby pulls Mary towards him.
Come on, let's go.
He says.
Angie tells Joe to go help his friend beat up an old man.
But Joe slinks down in his seat.
Mary is going to be a little bit more comfortable.
And then he goes out to the car.
And he says,
"I'm going to go home."
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(07:13):
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(07:35):
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(07:56):
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(08:17):
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(08:38):
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(09:00):
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(09:21):
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(09:44):
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(10:05):
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(10:29):
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(10:50):
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(11:23):
And he says, "I'm going to go home."
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(11:44):
And he says, "I'm going to go home."
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(12:05):
And he says, "I'm going to go home."
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Audrey squarely says that her parents aren't like most people.
Ruth says, "Yes, she's not like most people.
She's Ruth Barton."
And she leaves Audrey to sulk in her room with her dolls.
Audrey flings one of her old baby dolls at the door.

(12:27):
The doll cries out in pain.
And says every girl in this movie.
Next day at school, Audrey, Mary, and Angie are on the side sitting under a tree.
A short ways away, Tommy has enlisted another girl, Maureen,
to help them act out the displays they witnessed last night.

(12:50):
Audrey says she wishes she could climb in a hole and cover herself up.
She's so embarrassed.
Angie who's sitting there, badly smoking a cigarette.
I don't think she's ever done that before, says that the girls should start a club
and call themselves the three know-wares, which is terribly un-catchy.
First order of business, did you clear a vote of non-competence in the world,
especially the part inhabited by their parents?
Mary says it's too bad their parents can't see themselves as they see them.

(13:13):
Audrey says it's not totally their fault.
She was just born in the wrong family.
Angie tells Audrey the problem with her is she's too passive.
But Audrey says she's turning over a whole new leaf.
And Angie says that's great and let her know when the new improved Audrey arrives.
Now Tommy and Maureen start an impromptu skit, see others watch.
They're replaying the altercation between Bob, Mary, and her father.

(13:35):
Maureen plays Mary, Tommy's Mr. Rubik, and Joe plays Bob.
Angie says that she's going to show them what active resistance looks like.
But Mary begs her not to go over there.
She's just going to make it worse.
Now Tommy and Maureen move on to their Audrey's mother and Henry Stevenson material.
Audrey says they're about to see the new Audrey in action,
and she and Angela charge into the crowd.

(13:56):
Audrey tackles Maureen and wrestles her to the ground.
Tommy and Joe hold Angie back to keep her from joining the throng.
It's one of those signature Lou Rousseff cat fights that get in almost every one of his movies.
Their teacher Miss Petri runs out to stop the fight.
She confronts Angie.
I should have known you'd be involved in this Miss Forest.
Audrey says that Angie had nothing to do with it.
I wasn't speaking to you Miss Barton, though I'm sure if you've been more selective of the company you keep,

(14:20):
you wouldn't find yourself in this display now.
I'm afraid I'll have to report this to the vice principal.
Angie snaps afraid.
You'll love every minute of it.
Miss Petri stomps off.
She seems offended at this.
Yeah.
Tommy and Joe demand to know why Audrey doesn't have a sense of humor.
You killed it.
She yells.
They leave her and Audrey tells her pal is that this was the first time she fought back and it felt good.

(14:42):
Angie says that you can never win, but it feels good to go down with a fight.
We return to Audrey's house where Rousse is smoking a cigarette.
Audrey's father George comes home early.
Audrey follows soon thereafter.
What happened to you?
Ask her mother.
I was in a fight says Audrey.
Audrey says she rose above the masses to engage in a highly individualistic school yard brawl.

(15:03):
Rousse says some things can be taken to extremes.
Then Audrey asked Miss Iverson the vice principal called.
She had said she was going to.
Rousse says yes.
And Audrey asked if she had mentioned that Audrey is now on the poison list.
Rousse asked what that is and Audrey tells her it's someone who has no chance of graduating this year.
Rousse comforts Audrey, telling her that she takes life too seriously and if she'd like,

(15:24):
they can send her to a private school next year.
School is just a place to go to wait for the right man to come along so they can send her to one of the finest schools in the country.
If that's what she wants, Audrey says sure if it can be bought they'll buy it for her and then everything will be all right.
Then she announces she's going to her room.
Rousse scratches her head trying to understand her daughter.
She never will.
Mr. Barton says that Audrey really is upset this time.

(15:46):
Maybe they should dial back the partying a little.
Rousse disagrees.
Audrey gets to have her fun.
Why should Ruth give up hers?
George hopes that Ruth knows what she's doing.
Ruth claims she does.
Hey, you know starts Ruth.
Girls are said to be closer to their fathers than their mothers.
Why don't you talk to her?
George seems a little stunned at this suggestion.
Maybe he will tomorrow.

(16:07):
Ruth smiles because she called his bluff and she won.
Always tomorrow isn't it? She glots.
The next day Audrey and Angie and Mary are walking home from school together
when Bobby pulls over next to them in his pickup truck.
I never thought I'd see you again after last night says Mary.
Bobby tells her to get in.
He's thinking for the service on Monday and he needs to talk to her.
As they drive off Angie comments that if anyone ever wanted her

(16:29):
the way Bobby wants Mary she'd run out on any father in the whole
stinking wide world.
Just then Tony pulls up in a convertible.
He gives a wolf whistle to Audrey.
He says he thought Angie might like a ride home.
You don't look like a high school kid.
He looked 21 says Tony.
Angie tells Tony Audrey's jail bait anyway he looks at it.
So he should put his eyes back into his head.
They climb to the front seat with Tony and Tony asked where he can drop

(16:51):
Angie off.
He and Audrey need to have a talk.
Audrey says she's going only one place home and she's walked at many times.
Okay so I don't dazzle you says Tony and he puts his car into drive.
Now with Bob and Mary they're cuddling together on the grass.
As Bob tells Mary of their plans Bob says he's got $200 saved up for them
and they'll be all right.
Mary asks if Bob's told his parents about them.

(17:12):
Bob says yes and they gave the same answers that parents always give
when they have kids that want to marry other kids.
But Bob isn't a kid.
He's a man at 20.
Then he rolls on to her to show how much of a man he is.
She stops him to say that she's not very smart.
She can't put things into words very well.
To which Bob rolls his eyes.
Mary continues you know about my mother.
One day my father came home from work and she was gone.

(17:35):
Man out on him and he's been taking it out on you ever since his puppy.
He's bill his whole life around me says Mary.
It hasn't been good for either of us.
She says she's thought about running away many times.
She's even started packing.
But then she imagines him sitting at home thinking the second woman in his life ran on him.
Bobby sits up.
You owe me something too Mary.

(17:56):
Mary says maybe they can wait a little while.
Sooner or later her father will have to start thinking of her as a woman.
Maybe then it will be different.
But Bob winds that he doesn't want to wait.
He's going to take her home.
She asks for a kiss first and then they roll on to the blanket as the scene fades to Tony dropping Audrey off at home.
Angie sits between them.
Tony offers to pick Audrey up at 8 p.m. that night.

(18:17):
And at first Audrey refuses.
She's not in his league, but Tony wants to promote her.
And you says Tony doesn't stand a chance with Audrey.
She's a thinking type.
Audrey reaches her front door and finds a note from her mother saying she and her father will be gone for the week.
Audrey calls on to Tony that she'll be ready tonight at 8.
And Tony laughs at his little sister's lack of faith.
And I'll back with the other couple in the soap opera Bob and Mary.
They're smooching in her driveway.

(18:39):
Her dad isn't home from work yet.
Bob asks if he's going to see her again before he leaves.
Mary doesn't see how Bob says his first leave is in 30 days and he wants an answer then.
It's marriage or nothing.
Mary says don't say that.
But Bob is saying that and he means it.
That night at 8 o'clock Tony picks up Audrey is scheduled and they drive around.
After the day they would turn to Audrey's and Tony mixes drinks in his car.
Audrey thinks him for a wonderful evening.

(19:01):
Tony asks when you can see her again.
Oh, in about five or six years, maybe, lips Audrey.
Tony asks if he promises no more wrestling matches.
If he promises to keep it clean, he really enjoys spending time with her.
Audrey says she enjoys playing with her.
It's spending time with her.
Audrey says she enjoyed his company too, at least up till now.
She likes him.
Likes him.
He offers a takeer to the beach tomorrow morning at 10.

(19:24):
And she accepts.
Then he asks her to see him every morning at 10.
Audrey says there's a little matter of school.
But Tony tells Audrey to tell the school that she's going on vacation.
Audrey giggles and leaves.
And then Tony smirks.
But then again, that's his only facial expression.
You get a quick montage of Tony and Audrey spending their week together.
Tony and Audrey are dancing.
And then her parents return.

(19:45):
So one night when Audrey is going out again, her father challenges her.
She's been out with Tony forest every night this week.
Audrey says hanging out with Tony is a ball.
He's a bum says George.
Are you telling me I can't go?
Of course that deer says Ruth.
Audrey says there's a roadhouse opening outside of town.
And Tony insists on being a first-nighter.
Ruth tells her to have fun.
Audrey steps the latest cigarette.
Since when did you start smoking?

(20:07):
Just something I picked up says Audrey.
I'll probably be late tonight.
That's all right.
Ruth, you know where the key is?
A horn honks from outside and Audrey leaves.
George ponders this change in their daughter's behavior,
which Ruth calls "shock treatment."
Ruth thinks Audrey wants him to forbid her from going out.
So Ruth's applying reverse psychology.
George hopes she knows what she's doing.

(20:28):
As always, Ruth believes that she does.
George sits down to read his paper grumbling.
Ruth tells him to be quiet.
She's planning Audrey's birthday party.
Then we fade into Mary's house.
Mary is studying at the table while her father won notes the piano.
He notices Mary holding her head.
And she says she isn't feeling well and can't concentrate on studying.
He just wants her to try harder.

(20:50):
He says he's had the mail forwarded to the shop
and he throws a letter onto the table.
We're invited to a party at the pardons.
You're not going.
They're rich trash and I won't have you partying at their house.
Then he sits down to the table to closely monitor her studies.
She's not going anywhere, he says.
Number back in Angie's house where Angie smokes and dances Laura Petri style.
Although Laura never smoked, Tony comes out in the living room wearing a suit.

(21:12):
It's not a swimsuit.
From this we can deduce that he's going to the beach with Audrey.
No, we can't, but he does say that.
Angie asks when Dixie's due to return.
Pretty soon says Tony.
Angie thinks that she should warn Audrey about Dixie, but it's not like that lies Tony.
Dixie is just good for laughs.
Yes Angie, how he looks.
Like a high class con artist Angie says.
And Tony leaves telling Angie to enjoy the movie she's going to tonight.

(21:35):
And as she continues her weird little dance with her cigarette.
At night Tony brings Audrey home to his place.
Where's Angela?
She says you said she'd be here.
Oh, she probably just went to the corner store for some cigarettes.
He tries to get Audrey to have a drink, but she'd rather not.
She suggests they put on some music and they start to dance.
But Tony moves in fast.
What's it got I got to do to kiss you to marry you?

(21:58):
She struggles against his advances as the front door opens and in walks Angie and Dixie.
Angie tells Dixie they're just rehearsing the school play, but Dixie thinks it looks like a new dance step.
The Tony's skunk hop Tony has Dixie if she got her old man's money.
Dixie said that her dad only had $300 and gives it to him.
Tony's happy for now.
Dixie congratulates Audrey on her release from Tony's clutches.

(22:19):
Audrey says that she needs to go home.
Dixie compliments Audrey's setup, even though she's never been there.
And said she wouldn't trade the key to Audrey's front door for 10 Tony's or 20.
Tony offers to drive Audrey home, but Dixie declares that she's doing it.
And demands that Tony go pack.
They have to leave for LA tomorrow because she's got something lined up.
Dixie and Audrey leave and Angie again asked Tony to take her with him when he goes.

(22:41):
He tells her she hasn't made here.
And anyway, he's got to go pack.
Tony says he has nothing to give Angie.
Angie says that she's so lonely she could start a fire.
Tony promises to send her cheery letters from Los Angeles.
He goes to pack and Angie goes to talk to her mother's photograph.
The next day at school, Angie and Mary are sitting on the lawn again.
Angie asks Mary if she's going to Audrey's party, but Mary says she can't go.
We sure drew ourselves a rotten lot of parents.

(23:04):
Says Angie.
Not if you ask them we didn't says Mary.
Angie says she's received a letter from her mother yesterday.
They're bored with that Capoco so they're off to Buenos Aires.
But that doesn't matter.
Angie's leaving this town.
Mary asks where she's going.
And she says she knows Tony's address.
So when she gets there, he'll have to take her in.
Mary wishes she could go with her.
Why don't you ask Angie, but Mary is unable to answer that question.

(23:25):
At that point, Audrey comes out of the school as Maureen and a gaggle of girls and Joe cluster under a tree.
Maureen makes a snide remark about how she wasn't invited to Audrey's party because she's not into drinking and dating older men.
Audrey hears this but keeps walking and joins Angie and Mary.
She's just trying to get a rise out of you.
Mary snips Audrey doesn't care.
And she tells Audrey that she's leaving town.

(23:46):
Audrey says you're always saying that.
But Angie means it this time.
L.A. is a glowing candle and she's a month.
Ms. Petrie comes out of the school just as Angie lights up a cigarette.
Mary and Audrey warn Angie that Ms. Petrie is coming and to put it out or she'll be expelled.
No better time than now says Angie.
Ms. Petrie comes over and demands that Angie put out that cigarette and that in her day.
Girls didn't crawl out in the grass.

(24:08):
Not in public anyway.
Angie retorts.
Ms. Petrie's jaw drops at the insolence.
She goes to pull up Angie calling her a filthy little vagrant.
But instead Angie pulls Ms. Petrie to the ground.
Angie picks up a rock and stands over her.
You give me the last bad ride you water vane-dold hag.
You tell the principal that he can't expel me because I quit.
Angie yells at Ms. Petrie to get up.

(24:29):
Joe helps her stand.
Ms. Petrie stomps off in Angie mimics her as she goes.
Then Angie turns to face the crowd.
I'm going to give Ms. Torture Chamber a real goodbye.
She says and with that she throws the rock through the school window.
So long suckers.
And she says before flouncing off followed by Mary and Audrey.
And now we're at the day of Audrey's birthday party.

(24:55):
Ruth is rearranging furniture as Audrey comes home.
She asks Audrey to help her do this.
Audrey wants her mom to cancel the party.
Ruth says no.
She's invited all of her close friends.
I have no close friends.
She yells Audrey.
Nonsense, she yells her mother.
Who informs her that all of them will be green with envy when they see what she and her dad are giving her as a present.
Well, it's one of the presents.
They also have that trip to Europe in the fall.

(25:17):
Audrey says her mother just doesn't understand her at all.
Audrey defends being unlike her mother who says that Audrey has her father's flair for mediocrity.
But don't worry.
Ruth's arranging everything.
Audrey threatens to leave home if they humiliate her.
Ruth says that she had hoped Audrey's escapades with Tony would have lightened her up a bit.
But instead the darkness overwhelms her.
Audrey wishes that her mom understood her.

(25:38):
Ruth says she thought she did.
Then we go back to Mary's house.
She's cleaning the table when the phone rings.
She answers it.
It's Bobby and he's in town.
He asks when he can see her.
Mary looks over to her father who is staring at her and says, "I'm sorry Audrey, but I won't be able to come to your birthday party.
I'll see you Monday."
She hangs up and her father tells her to go back to her studies.
She'll clean up in here.

(25:59):
Then we check in with Angie who is packing for her departure.
She's wearing her party dress because priorities.
And now it's party time.
Audrey's wearing a fancy strapless frock.
She goes to find her dad who's alone pre-gaming at his bar.
He thinks that she looks great, but he's pretty licked up right now.
Audrey tells her father she hopes he and her mother will leave her friends alone to have the party.

(26:20):
But her dad scoffs alone with no shaperone.
Your mother would never.
Then he drops a bomb.
They've invited their own friends over for a little secondary party on the premises.
One of those couples is to Stevenson's.
Audrey's upset and predicts that they're all bothered each other.
George scoffs again.
That's adolescent talk.
Audrey pleads, but George defers to her rutheness as in all things.

(26:41):
And says that the gift that they've got her will make up for everything.
She leaves and he wonders kids.
How are you going to figure them out?
Back at Mary's house.
Her father was asking her why she won't see the doctor for the headaches she's been having.
And he bets that she'd feel better if she went to that party.
Wouldn't she?
He asked her what subject her first exam is in.
She says French and he says everyone should know French.
But this is not the conversation she wants to be having.

(27:04):
Mary bursts out that she'll never graduate.
And her dad threatens her with summer school night school.
They'll make a decent girl of her yet.
I'm not a little girl.
She says I'm a woman.
A man wants to marry me.
I know what he wants.
The license costs two dollars.
It's cheap.
There's a point of no return pop.
One day I'll reach it.
He says he doesn't understand her, but she's not going to explain it.
She's going to sleep.

(27:25):
At the Bartons, Audrey's party is going great for George and Ruth.
That is the kids are dead bored and a lot of them are outside.
You see Joe and Tommy brave going in the house.
But Angie and Bob are going to wait outside the front door.
Bob's wearing his army uniform.
And he's anxious because it's after 11.
Mary was supposed to be there by then.
Her father's probably got her chain to the bedpost.
Angie helpfully offers.
Angie says she's going in, but Bobby's going to wait outside for Mary.

(27:47):
Angie goes inside and finds Audrey and asks if there's no way to get rid of the elders.
Audrey says she's tried, but no dice.
Angie says that this is her goodbye party.
She's catching the bus to LA at 2 a.m. that night.
Joe and Tommy start commentary on the old style dancing.
The song ends and Ruth goes over to Audrey.
The party is kind of a dud admits Ruth.
It wouldn't be if you'd leave us alone says Audrey.

(28:08):
Ruth isn't buying this though.
She starts up buying the kids to join her on the dance floor.
But they all just stare at her.
Ruth then grabs Joe and forces him to dance with her as Audrey dies of embarrassment.
Then she lets him go when she realizes everyone is laughing at them.
Specifically her.
Audrey looks very disappointed and runs off.
George goes over to Ruth and can see that Audrey may have a point.
They should take their friends and go, but Ruth doesn't admit defeat ever.

(28:31):
She runs up to Henry to ask if there's any gin in the house.
Her house.
Henry says there's three bottles worth.
She asks Henry to conceal a bottle in his coat.
They're gonna spike the punch.
Ruth provides cover as Henry dumps the entire bottle in the punch bowl.
Let's see how this goes.
Back at Mary's house.
We see it's late enough that she's able to sneak out to head to the party.
And then back at Audrey's house, Angie walks into Audrey's room where Audrey is sulking on her bed.

(28:54):
Angie tells Audrey to come back downstairs.
Audrey's mother had waved her magic wand and saved the party.
Back at Mary's house, Mary's father realizes that Mary isn't there and it's not to find her.
At the party, Audrey witnesses all the carousing and still isn't happy.
Then we go outside to see Bob still waiting impatiently.
Back inside the drunken revelry continues.
And George excitedly tells Ruth that the present has been delivered.

(29:16):
And then the phone at the Barton's rings and Audrey takes the call.
She listens for a while and then after it's over,
goes to tell her father that the neighbor called and says that he's going to stick the cops on them
if they don't lower the party volume.
George poo poo this once again, promising to buy her a policeman for her birthday.
Audrey asks Angie what time she's catching that bus.
Angie tells her and Audrey says that she's coming with her.
Mary finally arrives and Bob goes outside to see her.

(29:39):
He tells her he's being sent away for six months,
so it's now or never for that marriage thing.
But Mary says she doesn't want to run away like it's a dirty thing she's doing.
But I'll be tell her she's got to make a choice.
It's either him or her father.
Don't say that, sobs Mary.
He continues it's either hello or goodbye and she continues sobbing.
I guess it's goodbye he says, but I'm entitled to this much at least and he kisses her.

(30:02):
And of course this is the point where Mary's father comes up to the house.
He catches Mary kissing Bob and calls her a liar, a cheap liar.
It's her mother all over again.
He grabs her dress and says she even looks like her mother.
Mary begs her father to not abuse her in public and to do it at home.
But he belts her twice as Bob just watches.
Finally Bob pushes Mr. Rubik away, but Mr. Rubik slugs Bobby,

(30:23):
sending him through the front door.
This time it does crash open.
Robert returns to grapple with Mr. Rubik.
They fight as the excited crowd watches.
Mary tells Angie she can't take it anymore and she wants to come with her.
The more the marryer agrees Angie.
But Mary wants to go right now.
So Mary grabs her and they leave just as the police car pulls up.
What's going on here is the officer.
Just a friendly argument says George, it's all over now.

(30:46):
The officer says he's following up on a report of a drunken teenage brawl.
He tells Bobby and Mary is father to get on out of there and asks if anyone is willing to make a statement.
Everyone is silent.
So the officer says he'll give them a break and just put it down as a public nuisance call.
Just keep the noise down.
All the kids go home.
Then Audrey herself sends Mr. Stevenson and his Mrs. home.
Apparently shame does work sometimes with these people.

(31:07):
But not with their mother.
Ruth has no shame.
Ruth thinks that they'll laugh about this later.
Tomorrow even.
But Audrey thinks she'll never laugh at this.
George Bradley says we never showed you your gift.
Audrey doesn't want it, but they push her into the driveway where the gift is obviously a convertible under a cover.
George tells her that the gift is in her name.
She can do 100 in it if she wants.

(31:28):
Audrey gets in and calmly asks for a test drive.
George says it's nearly 2 a.m. but Ruth tells her to go on ahead.
So Audrey drives off and George confronts Ruth about how she nearly messed up the whole night and why won't she ever admit to being wrong?
George who only has a spine when Audrey isn't around accuses Ruth of using Audrey as her mini me.
Ruth is for once speechless.
George wishes he could just take Audrey into his arms like he could when she was a little child.

(31:51):
And so does Ruth.
Now they learn their lesson.
Audrey takes her new convertible over to the bus stop where Angie and Mary are waiting.
Get in she says we're traveling in class.
Angie asks where she stole it and Audrey explains it was a going away prison from her parents.
Now it's apparently the next day and we're back at Audrey's house.
Mary's father is there and he and Ruth are speaking with the police officer.

(32:14):
The officer is taking a report from Mary's father and Ruth about to now missing Mary and Audrey.
He thinks it shouldn't be too hard for the spot three girls in a new convertible.
But if they don't find it soon they'll have to file a missing person's report but not to worry it's probably a lot.
Then the policeman shows himself out Mary's father thinks Ruth for calling him.
It says he's on his lunch and has to be getting back to work.
He's feeling a little guilty.

(32:35):
Ruth assures him that Mary will come back. It's as if I killed her with my own hand he says as he leads.
Cheese.
And now one hour and five minutes into this film we finally have the titular runaway daughters.
Stupidly Audrey has let Angie drive her new car.

(32:58):
She's doing 90 creating around S curves and opining to the other two that she read that man's most powerful.
Urge self destruction. Wait what?
Her eyes are wide and she's turning the wheel wildly as she drives.
Well they all do in these old movies and some of the new ones do.
Then Angie suddenly pulls over.
She realizes that they're going to be looking for three girls in a convertible so they'll have to split up.

(33:19):
She checks a map and says that they're 18 miles from Paisley.
From there they should be able to get a ride to LA.
Angie grabs a suitcase and instructs Audrey to go next.
Angie lays out the plan.
They're going to meet at the Paisley post office at 8 p.m.
But first each one of them is to go to grocery store and get something to eat and be sure to get milk in bottles.
Once they're in Paisley they're going to boost another car and continue on to Los Angeles.

(33:42):
Mary's distressed that they're graduating from runaways to cart these.
But Angie says that one thing leads to another.
Then Angie reminds them that neither of them are under contract and they can get picked up and taken home with that's what they want.
Audrey and Mary both agree to meet Angie at the post office.
Angie runs off and Audrey says she's never felt hungry before in her life and isn't it funny?
A new convertible and she traded for a cup of coffee.

(34:04):
12 miles from Los Angeles according to the sign.
We see a motorcycle cop hiding at the side of the road in their stolen car.
Angie still driving speeds past.
Angie hears the siren and speeds up even more dangerously.
Angie the other runaways start throwing out their now empty bottles of milk.
The broken glass causes the cop to lose control of the sickle and the runaways get away.
Just want to note though that the cop merely stops his bike and calls it in on the radio.

(34:28):
Nothing happens to him nearly killed him exclaims Audrey.
That was good clean fun wasn't it says Angie.
The important thing is he's not behind us anymore.
Angie pulls over again and jumps out grabbing her suitcase.
This car's too hot now. Get out she commands.
She says they have to split up again and they'll meet up at Tony's apartment.
And isn't she good at this? She'll have to write her mother and tell her she's finally found her niche.

(34:49):
Angie get away trot's off.
Mary and Audrey give each other a look filled with regret.
Mary doesn't like this anymore.
Audrey says yeah, but they're in it now and they have no choice but to go on.
They run off separately in a scene that looks a lot like the movie poster.
Now right Tony is a part and we see that all three girls have arrived.
The three of them in Tony are sitting around when Dixie comes in.

(35:11):
Tony explains that the girls have flown the coop so Dixie tells them to give them some hot cocoa and cookies and send them on home.
Tony says he can't do that. They're hot. They hoisted a car and knocked over a bike cop.
Dixie isn't surprised to see Angie in this kind of trouble.
But how did Audrey and Mary get involved in this?
They say they have their reasons. Dixie can't believe that they swapped their cushy home lives for a crappy dump with a semi-functioning toilet and cockroaches.

(35:33):
The idea of roaches distresses Mary but Dixie tells her that's what you can expect now.
Dixie asks if they have any money.
Enough to buy you peroxide for your hair snarks the increasingly annoying Angie.
Tony says he thought that they could work for Dixie at the Marimade.
Dixie gives them all the one-sover and says that with a different hairdo, Audrey could pass for 21.
She looks at Angie saying that with the right padding, she could look like a woman.

(35:56):
Well, if you fool them for 45 years then I guess I can too, Snarks Angie.
Now it's Mary's turn.
But Dixie says that she looks too sad. She's not to get a job slinging hash or something.
And she'd have the cops asking all kinds of questions.
Dixie can get them new IDs and social security numbers but it will cost $20 a piece and they can pair it back when they've got the money.
After she leaves, Angie goes to hug her crappy brother.

(36:19):
Tony looks at Audrey over the top of Angie's head, not hard to do because she's very short.
This is that he wants to take her out.
Little Angie looks up at her brother and accepts the invitation.
Not you says Tony, but Audrey's tired and frankly not interested in Tony anymore.
Though she can hardly say that now that she's living in his apartment.
Tony says it's okay. We have a lifetime ahead of us.
Then we return to the Barton residence where George and Ruth are moping at home.

(36:43):
It's been a week since Audrey left.
George says he's hired a private detective to help track her down.
And he believes that she's in the Los Angeles area.
George suggests they invite some people over for a game of bridge to help distract them from their woes.
But Ruth is not the mood for company.
Wow, she must be serious.
George admits that yeah, he's not interested either.
And now we're at the Mara-Made Dance Hall. Dixie's the boss.
She goes to find Audrey holding up a wall. Dixie wants Audrey to get out there and earn some money.

(37:08):
But Audrey says can't I just watch?
Dixie tells Audrey that she's going to start if she keeps this up.
And that she should just go home.
The two of them watch as a guy calls Angie around the dance followers if she were a rag doll.
Dixie tells Audrey that even if she were out there working,
she'd only be making seven or eight dollars on a good night.
Most girls have a side-record, a gambling halls or liquor joints,
or keeping men company.

(37:30):
If you know what I mean, Audrey looks sick.
It'll come naturally eventually, Dixie tells her.
On the floor, Angie bets her dance partner five tickets
that she can guess what he does for a living.
He says she's on.
I'll put it as something to do with horses, she says.
He gives her five tickets and midst to being a horse trader, raps her, and they continue dancing.
I bet he's smelling like horses.
Angie with a handful of tickets looks like a kid having a moderately successful night at Chuckie Cheese.

(37:54):
But his dancing style doesn't seem to make her very happy.
Then a man comes up to Audrey and offers her a ticket.
Dixie tells her to go on and start making money.
The man drags Audrey onto the dance floor, but he complains that she keeps pulling away from him.
He gave her its ticket.
Here, take it.
She says, "Take all of them."
And then she runs out of the club.
I wanted to point out that this guy looks a lot like Audrey's dad.
I don't know if you noticed that.
I did not.

(38:15):
But I thought that might be intentional.
Maybe not.
As the night continues, Angie dances one dance after another,
and we see Audrey dancing too, but she doesn't seem to be doing this willingly.
She keeps getting paired off with hands-y old men with no rhythm.
Later, Tony finds her sitting against the wall.
Audrey says that she should get another job, but Tony says that cops will never in two days if she does.
She might as well make a career here.

(38:36):
He points to Angie, who successfully grabs another handful of tickets from a willing customer.
Audrey's disgusted that he lets his sister do this job.
But Tony says he didn't ask her to come out there, and he's not happy at how Audrey's been standing him off lately.
Angie brings her little guy over to see Tony, and to subtly tell him that he has a nickel-mining Canada.
Tony gets the hint, and asks the guy to come outside and tell him more about that country.

(38:59):
Angie, in a fake Southern accent, draws that she'll join him later.
Outside the club, Tony rolls a little guy, and she goes all the Canadian dollars out of his wallet.
This he goes to Tony's apartment to find Mary sobbing on the bed.
Fixie tells her she should go back home and she'll give her a ride to the bus station.
But Mary says she can't go back. She's going to have a baby.
Wouldn't he marry you? That louse.

(39:20):
Mary explains that he doesn't know about it.
She'll only find out herself a few days ago.
He's in the army and she doesn't know where he stationed.
He's not on the moon, says Dixie, and she helps Mary write a letter explaining the situation.
Because, as Mary said, she doesn't do good with words.
She then has Mary put Bobby's last known address on it, and assures her she'll find him for her.
The letter is very simple. Dear whoever, I'm having a baby.

(39:43):
Your baby. Mary tells Dixie that she had to tell someone, and she's glad that it was Dixie that she confided in.
Dixie tells Mary to warn Angie to lay low now.
The cops have her description from the drunk that Tony robbed.
Dixie leaves hoping to soon rid herself from this kindergarten.
Later, Angie and Mary are both holed up in the apartment when Tony knocks on the door.
He says there's a telegram for Mary. They came addressed to Dixie.

(40:05):
Mary is too nervous to read it, so she has Angie do it.
It's instructions for Mary to take a flight to Baltimore to join Bobby.
Mary goes to Pax. She's going to him and she's going to be his wife.
Angie is distraught. The next leave will be Audrey, and then she'll be right back where she started.
Why don't you go on home, sis, says Tony. The worst home says Angie.
A one bedroom apartment in a one-horse town, a hotel room in Acapoco, a cabin in a cruise ship.

(40:27):
Tony tells her there's nothing for her here either. Angie wants him to run off together.
Tony says she's just a kid and then leaves her.
Mary is waiting to leave, but then realizes she has to write to her father.
Personally, I wouldn't tell him anything.
Angie is feeling very alone.
Back at the Mary made dance hall. Dixie grills Audrey about why she stays.
Dixie tells Audrey that she and her mom could figure it out together.
If she just would go home, Dixie points to the other girls in the dance hall lineup.

(40:51):
They look pretty worn out. Dixie predicts it.
That's how a ragged Audrey will look in two or three years if she's not in jail.
Dixie advises that Audrey is doing this to her to her mother, but she's really only herding herself.
And look at Angie. She's got a mouth on her, but she's really a scared lonely little girl who doesn't know how to act like one.
Audrey says none of that matters.
She's going to start a new life for herself. Dixie asks if this new life will involve the big play Tony is making for her.

(41:15):
And as he offered to marry her yet, that's his trump card.
Audrey looks selling. Then two guys come in. Dixie commands Audrey to get to work for her new life's sake.
She lines up, but it's not two customers. It's one customer and one private detective.
Dixie tells him it's two dances for a quarter, special deals for cops.
What about private detectives? He asks, oh, we don't even talk to them. Says Dixie.

(41:36):
The man offers to come back with a cop if that's what he has to do.
Then he pulls on a photo and says the bouncer said that this might be Lola Marshall.
And he asks for Lola is now Dixie tells him that she's taking a break in the back room.
As he heads back there to talk to her, Dixie goes to Audrey and tells her to go out the side door.
Now we're back at Tony's apartment.
So it's not Tony's apartment anymore. And he has to knock on his own door.

(41:57):
The girls have taken it over.
Audrey crosses to the other side of the room as he sits at the table with Angie.
She asks about getting another job. Tony tells Angie she can't get another job.
She's hotter than a candle in the Sahara.
Angie asks what's going to happen to her. Tony says it's a little late to ask now.
He never asked her to come out there.
Angie wants to go for a ride, but Tony does not.

(42:19):
However, she's able to get Tony's car keys so she can go off on her own before she goes.
Tony tells her to keep to the side streets.
Audrey looks nervous and Tony notices this.
Oh, don't worry, baby. I'm not sticking around. And Tony leads.
Angie goes over to Audrey and says, bye.
You say that like you're going to Africa or something says Audrey.
Maybe even farther says Angie. She gives her friend a kiss and leaves.

(42:41):
Outside Angie runs to her brother's car.
Cups are already standing by and can't ignore her tearing out of there.
They start the chase, which leads them from the city out to the hills.
Angie drives straight off a cliff.
And it's said that she's dead now, but at least she took Tony's car with her.
The cops get out of the car and run down to where Angie's body is lying.
Remarkably unbroken.

(43:02):
Another statistic moralizes one cop and the other says that it's where she did that deliberately.
But the older cop doesn't get it.
Kid like that's got everything to live for.
Mac at the apartment. Tony lets himself in. His key still works.
He's decided to finally get serious about assaulting Audrey.
Audrey says she has nothing to say to him.
He feels differently.
And back at the mermaid club, the detective has brought George and Ruth Barton.

(43:24):
George tells Dixie they're looking for Lola Marshall.
And Dixie says that Lola quit last night, but tells them to have a seat.
Dixie looks at Audrey's mother and says she thought Ruth would be a lot younger.
Which kind of stings Ruth's pride.
Ruth says she's aged a lot in this last week.
George offers to make it worth Dixie's while to tell her where Audrey is.
And Dixie gets in a dig about how he's throwing his money around again.

(43:46):
Ruth just wants to talk to Audrey.
Dixie says she'll tell Audrey if she sees her.
And then gets the name of the hotel where the Bartons are staying.
And says she'll call them there.
As they go, she tells them to get their shameless off her tail or she's not going anywhere.
So the detective leaves to.
At the apartment, Tony approaches Audrey and throws her onto the bed.
So it'll be the hard way. Dixie enters.

(44:09):
Hard to me is this where I catch the helicopter to Honolulu.
Audrey and Tony both jump up.
Was this the big one, Audrey?
Then marry me and I'll take care of you.
He pulled it on me once and he hasn't stopped using it since.
Then Dixie notices that Angie isn't there.
Tony says she went on a little joyride.
You let her go just so you could take a crack at Audrey. Dixie asks.
She wanted a change of scenery, shrugs, Tony.
Oh, you are a heel, growls, Dixie.

(44:31):
You're not even good enough for me.
She tells Tony to take a walk and then says Audrey down for a talk.
Dixie tells Audrey that her parents are in town and they're not the same parents you left behind.
Just look for the flaws in yourself when you see theirs and you'll be fine.
Audrey asks when she's going to see Dixie again.
Never if you're lucky says Dixie.
Audrey asks Dixie to say goodbye to Angie for her and Dixie leaves.

(44:53):
Later as we see Audrey finishing her packing,
Audrey's repentant parents arrive and they embrace.
And that's the end.
You were listening to the American International podcast where we're discussing Runaway daughters from 1956.
I don't have attribution for this, but I read that the script was allegedly based on an incident

(45:16):
that writer Lou Russoff came across when he was working as a social worker.
However, I did find buddy Mason's column published in October of 1956
where he wrote that in doing research for Runaway daughters,
producer Alex Gordon checked on a thousand and one case histories and police files.
He discovered that Runaway girls seldom find the fame and fortune they seek in a big city.
However, what actually becomes of them does make interesting film fair.

(45:39):
In his autobiography Sam Arkoff said Runaway daughters best personified Alex Gordon's love for seasoned actors,
writing about how hard Gordon lobby dark off to give Anna Stan top billing.
Arkoff refused saying Stan was past her prime by more than 20 years.
Ordin thought it was a coup to get Stan.
Arkoff countered it would be more of a coup de gras as their coveted teenage audience would have no idea who Stan was.

(46:03):
Gordon promised Arkoff that columnists like Heta Hopper and the Willow persons would give the casting plenty of column inches.
And they did.
Arkoff said that though Gordon tried to explain to Stan that Runaway daughters had a low budget, $90,000,
Stan was still expecting champagne and caviar treatment from the studio that in Arkoff's words,
were more accustomed to ordering Pepsi and tuna sandwiches on rye.
So Stan showed up to the set in a limo she rendered for herself with her own supply of bubbly and fish eggs.

(46:29):
Stan also complained about having to share dressing room with the Dell Jurgons until Gordon explained to her the limitations they were under.
And she accepted the accommodations graciously.
In the book Faster and Furious Sir, Mark Thomas McGee, quoting Alex Gordon,
wrote that Mary Ellen Kay was cast because Gordon had enjoyed her work in some of her Republican United Artists films.
But Gordon and Khan had a hard time finding that third lead and auditioned more than 100 young actresses with no luck.

(46:54):
They were about to give up for the day when they spotted Gloria Castillo sitting in the reception room.
She told the two that she was determined to get that part.
A Dell Jurgons casting was announced on July 18th, 1956 in the LA Times.
In the July 19th edition of the Los Angeles Citizen News, a blurb announced that touch-conners in Gloria Castillo would also star.
Lance Follers casting was announced in July of 1956 in the LA Times.

(47:16):
At that time, columnist Edwin Schallard pointed out that he had five unreleased films, one of which was Girls in Prison.
A Hollywood reporter production chart also added Sid Seller, Buddy Mason, George Doxdater, and Eddie Baker to the cast.
And a blurb in Los Angeles Citizen News in August of 1956 claimed that silent screen stars, Eve Novak, Franklin Pharnum, Stuart Holmes, Best Flowers, and Joe Gilbert have been signed by Alex Gordon.

(47:41):
They appear as party guests.
Tom Conway, who was included in the cast in Hollywood reporter's production charts, originally played George Barton, but became ill with a brainhammerage and was hospitalized shortly after filming began.
According to McGee, he was replaced by John Lattell, whom Gordon found by flipping through the publication "Players Directory."
Gordon called Lattell's agent to see if Lattell could do it.

(48:02):
15 minutes later, the agent called me back and said that John was in his car and would meet me at the studio at 10.30.
Death Same Buddy Mason column from October 1956, detailed the chaotic first steps the crew made when they found out Conway would be unable to finish the film.
Production supervisor Bartlett A. Carroll exploded into action.
They were phone consultations with executive producer Samuel Z.Arkoff, producer Gordon, and director of Con.

(48:26):
Script changes were made, actors were recalled, and technicians notified.
Script revisions, substitutions, shooting order, and new shifts must be relayed to all departments.
By some miracle, Carroll had the unit following it 8.30 the next morning, right on the schedule.
The column called John Lattell, a veteran chupor who was memorizing script dialogue while Carly Taylor applied his makeup.
Runaway daughters was shot at Academy Films.

(48:49):
Edwin Schallet of the LA Times in his column published August 1st, 1956 reported that Nikki Blair, who played Joe and Runaway daughters,
showed so much promise in the rushes of that movie that producer Alex Gordon had secured him a two-picture deal and will star him in monster on the ice with Mary Ellen K.
A day later, Schallet wrote that Gordon was securing the rise to Anastance 1932 film The Tempest that they was shooting in England.

(49:12):
However, that never happened.
Schallet's December 21st, 1956 column said that Stephen Turell, star of the recent Runaway daughters,
had been signed to a 15-picture deal by Samuel Arcoff and Alex Gordon at a rate of three a year for five years with an option for a fourth.
His first picture after making that deal was Drag Ship Girl, but after that film, Turell only made two more films for A.I.P.
Runaway daughters was released on the bottom half of a double bill with Shake, Rattling Rock on October 31st, 1956.

(49:39):
Backlines for Runaway daughters include the shocking story of teenage girls and revolts against today's delinquent parents.
They called her "Jail Bate."
Revolts of the Teenagers.
Why do teenage girls run away from home?
In his autobiography, Arcoff wrote, whether the films were focused on music, bass cars, juvenile delinquency or teenage horror,
they were designed to tap into the interest and taste of America's adolescence.

(50:02):
With no lack of modesty, our own trade newsletter, American News, credited us with the rebirth of the movie habit among young Americans.
In his column, published in January of 1957, Ed Hokura wrote that in Buffalo, Runaway daughters and Shake, Rattling Rock were further ahead at the box office than Warren Peace and Giant,
which only goes to prove that the only way to get people to go to the movies today is to give them pictures with titles that promise cheap thrills.

(50:27):
But, such is the case only in a few cities.
These same pictures are running a poor second and third in other cities, according to Variety.
It's the teenagers who are responsible for these pictures doing their fantastic business in certain cities.
But, while they turn out in large numbers during the day, these theaters are almost empty at night.
Box office magazine said in their review that Runaway daughters was of a slightly better caliber and longer length than the regular twin-build films turned out by American International,

(50:53):
with the capable cast a few familiar faces and an exploitable title and theme.
A blurb in the Lancaster, Ohio, Eagle Gazette said Runaway daughters and Shake, Rattling Rock were tales of America's juveniles today.
They are not expensive films, but descriptive.
The Catholic newspaper The Messenger warned readers that Runaway daughters was a class B film of low moral tone.
Lowell E. Redelings, reviewing the film for the Los Angeles Citizen News, wrote,

(51:17):
"The film is below average for its category, but adds a balance and variety to the double bill.
And columnist Walter Wenzhel wrote a brief review of Runaway daughters saying the film, "offers one of those plots that keep around studios in mimeograph form."
Margaret Hartford of the Los Angeles Mirror wrote,
"The girls who become runway daughters in the new film of the same name are more to be pity than censured.

(51:38):
They have problem parents, and their parents easily rank among the nettiest problems of the season.
Marla, Gloria, and Mary Ellen must have been cast more for Beauty than for Talent.
Adele Jirkins as a Brassie Dance Hall Dame in John LaTella's Marla's Worried Father, contribute more in the way of acting experience."
The review in the Springfield Massachusetts Union said of Runaway daughters,

(51:59):
"Under Edward Constrairection, nothing much is solved in the relationship between parents and offspring, which seems to be a personal matter anyway."
The review in the Springfield Massachusetts Republican reported that teenagers in the audience, and they comprised 90% of it, were enthusiastic about the twin bill of Shake, Rattling Rock, and Runaway daughters.
They jeered when the old maid school teacher ordered a pupil to dispose of the cigarette she was smoking on the full lawn,

(52:23):
and they cheered when the girl rebellious at such interference knocked the teacher to the ground.
The reviewer concluded, "Whenaway daughters doesn't even have any music to make the end come more quickly,
it's probably the dullest collection of neurotics yet assembled for public consumption."
Runaway daughters was one of the first AIP films offered to television through the Screen Entertainment Corporation in 1964,
which was before American International Television was created.

(52:45):
Runaway daughters was remade for the Showtime Cable Television Series Rebel Highway in 1994.
That version starred Julie Bowen, Holly Fields, and Jenny Lewis, and was directed by Joe Dante.
[Music]
Well, Shuttle, we've been discussing Runaway daughters, but I've yet to hear your opinion on the film. What did you think about this one?

(53:09):
I'm surprised you haven't heard any of my opinions yet, because I did put in a little snide remark here and there when we were doing the synopsis.
And I remember the first time we watched it about, I don't know, halfway through, I realized this is a soap opera, not a movie.
This reminds me of the old General Hospital, or all my children episodes that I used to watch when I was a kid sitting next to my mother on the couch.

(53:32):
It's mellow drama taken to the extreme, and it doesn't play like a serious movie for a lot of it, although the ending obviously has some very brave tones to it.
But nothing you wouldn't expect from an AIP film of the Zera.
No, but I think they escalated a lot from, let's say, girls in prison even. I just think the drama was more dramatic.
The parents are so cartoonishly terrible. There's no nuance there. There's no balance.

(53:56):
They start terrible and they continue being terrible. We don't see Mary's dad at any kind of remorse. We never see Angie's parents.
We do only see three of six potential parents here, and two of them have really weird accents.
True. We're not going to make fun of their accents by trying to imitate them, but Aniston, I think she's Scandinavian.
She was born in Kiev, which was then part of the Russian Empire.

(54:20):
And she did work in Germany for a few years in the 30s, which is probably why she sounds like a good boy.
She does sound like a good boy. And then Mary's father, obviously, we're not going to imitate his accent either.
But if you've ever seen the movie, the jazz singer with Lawrence Olivier, I think that's the one I have no son.
That's what he sounds like. But their family's Catholic. So that was a bit of a puzzler.

(54:43):
And he's just the worst of the parents. Even Angie's absent mother is a better parent than he is. He is so abusive.
It's hard to watch. And to see how all three girls are suffering from abuse left, right, and center.
The only good person in this whole movie is Dixie. And she's not a good person. But to them she is. She's their fairy godmother.

(55:04):
I think something that struck me that I didn't catch until the second time through is that Angie is not the main character.
But she seems to be because she's so much of this movie. She's I mean, she's a lot of everything.
She fills up the screen with being loud and obnoxious. And everyone else stands around sulking.
And she's out there breaking things, screaming and she aims to misbehave.

(55:26):
She does. That's really wants to be a main character. But this is Audrey's story.
It is because she's a final girl, you could say in this movie.
And she's probably the least of the runaways in terms of interesting storyline.
Yeah, she's very sulky. And that's just about all she has going for her.
Yeah, she's rich. I feel very sorry for her.
I mean, her parents are objectively bad, but they're not Mary's dad bad.

(55:48):
And they're not abandoning your kid forever bad, leaving a high school senior to live alone in an apartment forever.
I guess they must pay their rent because she's not kicked out.
But they're not there. Husband number three and mom are gone.
I don't even know when they're going to find out that their daughter is dead.
And if they do, will they even care?
Movie doesn't address it. No, hopefully Tony at least will feel a tinge of guilt.

(56:09):
They're sending her out there.
I kind of wish that she had taken Tony with her over the cliff.
We saw him in girls in prison. And he was just as smarmy and unlikable there as he is here.
Yeah, previous to runaway daughters, Lance Fuller had appeared in Apache Bowen,
which we have yet to watch for the podcast.
And girls of prison would follow runaway daughters.
And he appears again in the chic feature and voodoo woman, both of which we have coming on future episodes.

(56:33):
Yeah, one day Marla English is in the chic feature too.
She is. And when we thought it was interesting because there's so many cast members who have seen before
and would see again, it was like the last hurrah for some of them.
And then the bringing in the new cast members who would be in AIP phones for the next couple of years.
And then with the producing directing writing team of Khan and Gordon and Rousseff,

(56:54):
it's like a greatest hits of AIP this film.
It is. So it's kind of surprising that it comes so early.
It's 1956, Adele Jurgens, who played Dixie here, first appeared in Outlaw Treasurer for AIP,
well for ARC, and the day the world ended.
And then would appear again in girls in prison, which we did a few weeks ago.
She's kind of the same character there and here.

(57:15):
She's a con artist, but here she has a heart of gold and there she was a prisoner who was not above killing people if she had to.
And Marla English, after runaway daughters would go on to do the chic feature, like we said,
"Flesh in the spur," which we did and in voodoo women as well.
This is the first appearance in AIP for Steven Turell, who would go on to do three more films,
all of which we've covered, "Drags Ship Girl," "Invasion of the Sosserman" and "Motorcycle Gang."

(57:39):
And we have Frank Corsian as Tommy, "Drags Ship Girl," "Hot Rod Girl,"
"Funk Rod Girl." No wait, that's a song by the dead milkman.
"Invasion of the Sosserman," and "Tank Battalion," and "Record City,"
which also has Nikki Blair, who played Joe.
Oh wow, I didn't realize that.
Funny, I mentioned this we did "Record City." They have a scene together. Joe plays the "Wino" to Frank Corsian's chameleon.

(58:00):
They bump into each other and Joe says, "Have I seen you somewhere before?"
And I always wondered if that was a reference to runaway daughters because that's the only other shared credit that they have.
Oh wow, that's interesting.
So in my mind, at least, that's what that's referring to.
I'm sure it is.
Or in my husband on the street and saw the chameleon in one of his disguises.
No reason, it can't be both.
But Nikki Blair would also appear in "Jet Attack," "Summer in Seahawk," and "Truckstap Woman," which was re-released by AIP.

(58:26):
Gloria Castile made her first appearance in "Runaway Daughters," and she would go on to appear in "Invasion of the Sosserman," and "Reform School Girl."
She was better in both of those movies than she was here. Here, she's just so over the top.
Very much over the top. I think she's a lot more fun to watch in this one, but I don't think it's a better performance.
She starts at 11 and then goes up from there.

(58:47):
I think I do have one more Jay Athler who played Mary's father that does have a small part in "Making County Line."
That's right. We did that one too. Tell me some of your opinions on the movie.
I think it's amazing that Gloria Castile's Angie is one of the only characters who does not get smacked at all at any point in this movie,
because she's the one probably most deserving of it.
You don't say that anymore.
She needs to be calmed down by some external force, I think, because it's not coming from within.

(59:12):
Everyone fails her in this movie. The school system failed her. Her parents failed her. Her brother's not there for her.
Boy, she got a mouth on her. She meets Dixie for the first time. This is a woman who's hanging out with her brother,
so she already knows what kind of woman she is, but she is not polite.
No, and she should be just as rude to her brother because her brother is a bad guy too.
I think she just resents the fact that she's finally not alone, except they have company,

(59:36):
and she can't just talk to her brother, sister bro. There's just interloper there.
I don't think it's really she's against Dixie. I think she's just against the idea of having anybody else there.
But yeah, her barbs are very sharp and quite to the point.
And entertaining is a spectator.
Oh, yeah. Probably the best part of this movie.
She has the liveliest dialogue that gave it all to her and Dixie. Have the liveliest dialogue.

(59:58):
And the wildest eyes. She's always wide eyed and crazy looking.
But yeah, the two of them kind of make the movie what it is.
Everything else is depressing and dreary, rapy, unpleasant. But Dixie and Angie,
I could watch a home movie about those two like Thelma and Louise style.
They both go over the side of the cliff.
They promise to run away daughters. We don't get that for 65 minutes of movie time.

(01:00:21):
And then it just ends up being this morality tale, cautionary tale of young girls trying to flee their terrible home lives
and getting smacked down into it.
They spent a lot of time establishing the terrible home lives.
Yeah. It's giving them a reason to run away.
This movie is way too long.
And because of that, the movie kind of just plods along.
But it's never boring.

(01:00:43):
And the performances, especially Gloria Castillo's extreme overreacting,
make it very watchable. It's fun to watch.
Yeah, I'm not saying I don't like the movie, but I can't just say I like it.
I have to offer some critique.
And my critique is it's very long.
The introduction of this.
Well, you shouldn't do that moral tale.
It just feels hamthisted and unnecessary.

(01:01:05):
The quick turnaround of Audrey's parents from their hands-off parenting style to,
well, I guess maybe we should give a damn about our daughter.
It just doesn't feel earned. It feels really forced.
I don't believe that they're going to be better parents.
I don't think Audrey should believe them.
But for the movie's sake, we have to.
And I think that's a flaw.
Not that it's not a great movie to watch.

(01:01:26):
And I wouldn't tell you not to watch it.
But just look out for that.
Yeah, and I think that they gave the parents a bit more story than they usually would in
AIP film.
And that's Alex Gordon promoting these older actors who aren't working otherwise and giving them a job.
Yeah, I didn't realize he was such a serial hire of elderly actors.
Oh, we've seen it. We saw Shake Reddleton rock.

(01:01:48):
Right. I didn't realize that until the last batch of movies that we just went through.
We've done quite a few of these 1950s, something movies in the past few weeks.
So it really is hammered home to us.
And Anna Stan who played Ruth Barton, who Alex Gordon wanted to give first billing to.
She got second billing.
She got second billing.
And whether it's earned or not, she does have a character arc.

(01:02:10):
It's unbelievable, but it's there.
It's there. Yeah. She has a turnaround and I'm not sure that the defense that led to it should have caused it.
But it did be saw in the film.
So that's what happened.
Because you think that with her laissez faire parenting, she'd be just like, "Oh, Audrey's off having an adventure."
That's so interesting for her.
She wouldn't be the very next day like, "Oh, woe is me or daughter ran away.

(01:02:32):
I must be a terrible mother."
And it did seem like they were kind of coming to that conclusion the night before.
But Audrey's dad is completely hands off.
No real spine on him.
He's not ever going to override her mother to say, "You know what?
Why don't you lighten up on her or actually heavy up on your daughter.

(01:02:53):
She needs some guidance.
She needs some parenting, that's the bottery that she encounters every night."
Willie does question her, but he doesn't question her to the point of contradicting her.
Nope, it's you know best.
When Ruth says that, Audrey was just trying to get a rise out of them, but the cigarette and everything.
She applied the reverse psychology telling her to go out and have a good time rather than telling her to stay home.

(01:03:14):
Because Audrey wanted them to tell her to stay home and George is like, "Well, why didn't we?"
Audrey does want to be parented.
That's why she's rebelling because there's nobody there.
Angie wants to be parented too.
I mean, she has no prayer of that.
They're not hands off parents.
They're completely invisible parents.
They're not there.
Having once been a teenager myself, I don't know if that would have been enough to get me to try to run her away.

(01:03:37):
I might see that as a plus.
All kids are different. They're all going to react the same.
I wouldn't say hands off parents, but my parents were divorced and they were both busy with work and stuff.
A lot of our teenage years, my brother and sister and I, there was somebody over our shoulder all the time.
There was a bit of trouble there.
I'm not complaining and nothing really bad happened, but maybe somebody could have checked in a little more.

(01:04:02):
In Audrey's case, she comes from a rich family.
And she's off to her own devices.
I think most kids would enjoy that environment.
I know. Have you ever seen a John Hughes movie?
They're not all happy to just be left to their own devices.
I don't think that's the case for all teenagers.
I don't think it's realistic to think that.
Well, agree to disagree.
I do want to mention that what we watched for this was the European DVD.

(01:04:25):
Back when these AIP phones and the ARCOP collection were getting their releases.
They released eight titles in the US, but 25 in Europe.
So this one never had a DVD release in America.
And I don't believe it ever had a Ph.S. release in the US either.
So this might be the only way to catch this film is from this source.
And I don't even know if a better print exists, but it wasn't the pretty print.

(01:04:47):
Now the top of the movie seemed to be clouting over with complete darkness in a lot of scenes.
I was just noticing the strips going through it too.
It had a lot of marking.
Well, it was available for television.
So there must have been copies of that somewhere.
Probably 16 millimeter prints.
And again, we don't know what condition of those are.
Right.
I don't know that there's a negative that's still in existence that this could look any better.

(01:05:08):
This is one that it would be worth saving though restoring in some way.
I think this is a really sterling example of AIP's output of the era.
I think so too.
You've got this amazing cast of characters who would see it again and again.
I didn't mention it in Cobb who fairly figures into the plot.
You had mentioned how one scene when the girls are splitting up and going their own separate ways.

(01:05:29):
It kind of looked like the poster.
I thought that they were running to the cameras because we see somebody's face.
But here we see them running away, but it's the three girls and skirts in their high heels running staggered.
A certain distance apart from front to back and from side to side.
And I think that might have been the inspiration for the movie poster.
And I think that the poster for runway daughters is another one of those iconic posters of the era.

(01:05:51):
Why do you think it's iconic?
It's not going to stand out the way that performance schoolgirl does.
Or girls in prison or girls in prison.
There's no cat fighting in it.
Well, they don't fight each other, which I'm surprised they don't cat fight each other.
Given Lou herself's penchant for that.
Well, that's why he brought Maureen in.
You had to be a cat fight in there somewhere.
Of course.
And this petri, she gets west of the ground.

(01:06:12):
That's a funny scene because what Angie does is basically pull her gently to the ground.
She more or less just sits down under her own steam.
But then she sprails out on the grass as if she's been clobbered.
I think she might just be so surprised that a student had the audacity to lay hands on her.
That she doesn't know what to do.
But Angie didn't hurt her in the slightest.
No, and in her day, girls didn't sprawl out on the grass like that.

(01:06:35):
Not in public.
The main disappointment in this movie is that they're so little of them being runaways.
I would have liked to see some of the scenes where they stole the car.
Where they got the bottles of milk.
Where they meet at the post office.
But that's all glossed over where I wanted to see them running away.
I wanted to see them in the car.
Audrey gets this beautiful new car for her birthday.
This lovely convertible.

(01:06:56):
And it's on screen for like 20 seconds.
We don't get to see very much of it.
We don't get to see them running away.
It just sort of has already happened.
And then we see their dreary grimy lives in Los Angeles if they try to evade the law.
I don't know why it's Audrey's car.
It's in her name.
They didn't steal it.
But they're 17.
Maybe they don't have a right to be out on their own.

(01:07:19):
Well, no, they're being looked for in that car.
So they don't want to be in a car of that description because they don't want to be found.
I don't know why.
But the first time I watched this movie, I thought they really did hurt the motorcycle cup.
I just couldn't remember that scene.
But all he does is he gets a flat tire.
He stops his bike.
It doesn't tip over or anything.
And he calls it into headquarters.
Nothing bad happens to him.
They didn't do anything that bad.

(01:07:41):
Nobody called in the car.
So they have to dump the car.
Well, they did steal a car.
That car was stolen.
Oh, that was a stolen car by then.
Yeah.
Love how Angie is first to jump out of the car and says,
"Okay, we're doing this now.
See ya."
And she takes off.
I just...
I just...
I just...
Audrey are left there standing like, "Okay, I guess we're going to do this now."
I just would have liked to see more of that, unless of their terrible home lives being played out.

(01:08:04):
And scenes that are kind of repetitive.
I think they could have shorthanded that a lot more.
Where, yeah, Mary's dad is terrible.
And we see him being terrible several times.
And Audrey's parents are so permissive.
And Angie's alone in her apartment all the time.
I think we get the point pretty early on.
We don't need to keep banging away at that.
And I wanted to see more of them on the run.
I think that is the most exciting part of the movie is when they're being runaways.

(01:08:28):
Yeah.
And it is a shame that we didn't get to see those little bits of them stealing the car.
And maybe that could have been in some sort of a close call.
Could have been a lot more opportunity for comedy.
And even just getting the milk because it's just mentioned in a line.
And then you see them later dropping milk bottles out.
But they don't explain where they are or what they did.
So you have to remember that.
It wasn't that long.

(01:08:49):
But without that visualization, it might be hard to follow.
It would have helped see them drinking the milk and putting the empty bottles in the back seat.
Yeah, something like that.
I could have devoted maybe 10 more minutes to that part of the movie at least.
This is a long movie.
This is a 90 minutes long.
And most of the movies barely topped an hour 15.
These early ones.
And so it did kind of grind for a while.

(01:09:11):
And then towards the end when Angie gets in a car again,
it looks like it's going to pick up.
There's going to be a chase.
It's going to be a little exciting.
And last like five seconds before she drives over a clip.
Do you think she did that on purpose?
Of course she did it on purpose.
That's why she gave such a tender goodbye to Audrey.
And Audrey's like, you act like you're on your way to Africa.
And Angie knew what was going to happen.
She knew that's what she was going to do.

(01:09:33):
She had just determined there's nothing for her here.
There's nothing for her there.
There's nothing for her anywhere.
So yeah, she intentionally killed herself.
She didn't even hit the brakes.
She just drove straight off the cliff.
So she was Velma or Louise, one or the other in that case.
It's driving.
It doesn't matter.
They both died.
So Cheryl, how are you going to rate this one using our AIP scale
where A is awesome.
I is intermediate and he is pathetic.

(01:09:54):
I think this is another one of those movies that for me rides the cuss between one rating
and another.
And it's kind of hard for me to pick one or the other because if I pick I,
which is one instinct, I think I'm being a little harsh on it because it is a fun movie to watch.
But like I said, it drags a lot.
There's a lot of repetitive scenes were not running away long enough.

(01:10:17):
But I want to also pick A because it's a fun movie to watch.
Glory Castillo is a food.
Adele Jurgens is a food in this.
Even though the story does end in a very unhappy way for poor Angie.
I think it's like a good example of an AIP movie of the era.
So what I'm going to do is give it an A minus.
But that's still an A obviously in our book because it's a really good movie with lots of room for improved.

(01:10:42):
But when you look at the AIP catalog, you want a movie like this to be on the top of your list of what to watch.
It's got the cast, it's got the crew, it's got the storyline, the theme.
It's everything you want in an AIP movie of this era.
So A minus, but you know, A about you.
I want to agree with a lot of that.
The thing about this movie is I hadn't seen this one before.

(01:11:03):
So I did know what to expect.
I had high hopes.
My expectations were a little lower because it was an earlier film.
But it exceeded my expectations for sure.
This movie is just so much fun.
If there's anything I would change is I would give Marla English's Audrey just a little more personality.
She's kind of dull or a little rich girl.
Yeah. And she doesn't really do anything except feel sorry for herself.

(01:11:25):
And I'd kind of like to see her do something in this film.
Be more proactive.
I mean, the most exciting thing she does is hold up a wall.
She does have to fight off Tony who's constantly groping her.
And she does fight with Maureen. She does defend herself in that one instance when she's being teased in the school yard.
Her one episode of spunk.
But as I said before, it's Gloria Castillo who just steals the show here.

(01:11:46):
And it took the second time watching it for me to realize that she was the main character because when she's around, she is the main character.
All the focus is on her.
But I thought this movie was just so much fun.
And like you said, it really is what you want from an AIP film of this era.
I really enjoy his black and white films. And this one I thought was much better than expected to be.
And I think it stands on above a lot of them too.

(01:12:08):
Yeah, it's one of the better 1950s AIP films.
And it's a shame that it's not more well recognized for that today.
But I'm going to get this one in A.
I think this movie gets lumped in with all the juvenile delinquent movies that AIP has put out.
But this one's got a lot more going for it than those, I think.
Because you spend a lot more time with the characters than let's say motorcycle gang or drag strip girl.

(01:12:30):
Where we'd get a brief glimpse of their home life and then we go on to the drama.
Here we get a lot of home life, a lot of character establishment.
And I think that is what makes this movie a better than average juvenile delinquent AIP movie.
Well, usually if you see a home life, it's because Raymond Hatton is their father or uncle.

(01:12:51):
And that's all we get. And here we had a couple of sets of parents.
We learned a lot about Angie's parents just by the fact that they're not there.
They must be rich too, or at least the new husbands must be rich.
If she can afford cruises and extended vacations, they seem to be pretty well off to and still keep house for their daughter back home.
So yeah, this movie is another A for me.
The AIP podcast website is aippod.com.

(01:13:14):
And that's a great place for you to visit.
There we have posters from the movie, lobby cards, trailers, information about our other episodes and links to our podcast.
A comment form where you can engage with us.
Let us know what movies you'd like to see next. Maybe they'll be on the list.
And let us know your opinions of the films that we've watched, whether they match ours or not.

(01:13:35):
That's aippod.com.
And that's our cue to run away for the American International Podcast.
I'm Jeff Markin.
I'm Cheryl Lightfoot.
And we'll meet you at the drive-in.
Follow the American International Podcast on Instagram and Letterboxd at AIP_Pod and on Facebook.
At facebook.com/AmericanInternationalPodcast
The American International Podcast is produced and edited by Jeff Markin.

(01:14:02):
A man whose mind is distorted by hatred.
And Cheryl Lightfoot.
A girl hungry for too many things.
The American International Podcast is part of the Pop Culture Entertainment Network.

(01:14:24):
[Music]