A Summer Place (1959)

Bart Hunter: As soon as Molly is found - and I'm sure she will be - I suggest you vacate these rooms as swiftly as possible.
Helen Jorgenson: [incredulously] Don't tell me that you're on their side!
Bart Hunter: Let's merely say that I'm not on yours.

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Helen Jorgenson: [after she has seen Molly Jorgenson and Johnny Hunter kissing] Well, your daughter didn't waste any time. She's let that boy kiss and maul her her very first night here.
Ken Jorgenson: Where were they?
Helen Jorgenson: Down below me, in the garden.
Ken Jorgenson: If they had anything to hide, you think they'd do it right under your window?
Helen Jorgenson: Are you defending her cheap behavior?
Ken Jorgenson: Cheap? A girl kissing a boy in the moonlight? You know Molly's as decent as this boy seems to be.
Helen Jorgenson: [really angry now] No decent girl lets a boy kiss and maul her the very first night they meet! I suppose it's your Swedish blood in her. I've read about how the Swedes bathe together and... and have trial marriages and free love. I've read all about that. Anything goes.
Ken Jorgenson: [angry and disgusted] So, now you hate the Swedes. How many outlets for your hate do you have, Helen? We haven't been able to find a new house because of your multiplicity of them. We can't buy near a school because you hate kids. They make noise. And there can't be any Jews or Catholics on the block, either. And, oh, yes, it can't be anywhere near the Polish or Italian sections. And, of course, Negroes have to be avoided at all costs. Now, let's see: No Jews, no Catholics, no Italians, no Poles, no children. No Negroes. Do I have the list right, so far? And now, you've added Swedes. And, oh, yes, you won't use a Chinese laundry because you distrust Orientals. And you think the British are snobbish, the Russians fearful, the French immoral, the Germans brutal, and all Latin Americans lazy. What's your plan? To cut humanity out? Are you anti-people and anti-life? Must you suffocate every natural instinct in our daughter, too? Must you label young love-making as cheap and wanton and indecent? Must you persist in making sex, itself, a filthy word?
[Helen, without a word, leaves the room. Ken slams the door after her]

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Sylvia Hunter: We live in a glass house - we're not throwing any stones.

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The house where Ken (Richard Egan) and Sylvia (Dorothy McGuire) lived toward the end of the film is an actual private residence that was built by Frank Lloyd Wright in 1948. It still stands today on Scenic Road in Carmel-by-the-Sea and is a prime feature in local tours.
Max Steiner's main theme for this film is probably his best-known after his "Tara Theme" for "Gone With the Wind." As with "Tara's Theme," it has remained a favorite ever since, with several charting recordings. Percy Faith's version (American Columbia: 1960) went to Number 1 on the Billboard Hot 100 chart in 1960, remaining in that position for 9 weeks, becoming both the Number One Instrumental Hit of the Rock Era and the first instrumental to win the Grammy for Record of the Year. Other charting versions were by Billy Vaughn (Dot: 1960, peaking at #2), the Lettermen (Capitol: 1965, using Mack Discant's lyrics and peaking at #16), and the Ventures (Liberty: 1969, at #83). Faith himself re-recorded it, shortly before his death in 1976, in a disco arrangement entitled "Summer Place '76."
Richard Egan's (Ken) impassioned speech to his wife about her disgraceful bigotry was so powerful that an entire packed audience at Radio City Music Hall gave it an immediate standing ovation.
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