But when Mark goes off on a dangerous trip to photograph moose in the wild, Toni insists on joining him, and then disregards his instructions to keep her distance. This makes him, in her eyes, a coveted prize for the winning:Īt first, Cherry underestimates how seriously Toni takes the rivalry, and asks Mark to keep her entertained so that her father will remain well disposed to the project. The complication is Calhoun’s spoiled daughter Toni, who is rarely seen without a cigarette in her mouth, and who first meets Mark when he mistakes her for Cherry and sneaks up behind her to steal a kiss. In the story in question, from the fall of 1949, Mark’s environmentalist girlfriend Cherry Davis is cultivating millionaire Remington Calhoun in the hope of getting a $25,000 donation to her Lost Forest wildlife conservation project. It comes in Ed Dodd’s newspaper strip Mark Trail, about the adventures of an eco-friendly photojournalist. There is an alternative and arguably even riskier response, which we can illustrate from one of the best spanking scenes of the 1940s. More often, however, ‘You wouldn’t dare!’ is a challenge doomed to failure: So that’s the third film in a row to feature a narrow escape for a Shirley Temple character, after Kiss and Tell (1945), where the spanking is confined to the publicity photos, and Honeymoon (1947), with its unfulfilled spanking threat (and possible deleted scene). In line with this sound medical opinion, he Dutch-uncles his other niece:īEEMISH: Susan, I’m still strong enough to take you over my knee and give you the spanking I sincerely believe you deserve.īEEMISH: I have no intention, however, of spanking you if you’ll be sensible.
He’s trying to persuade Margaret to get married, because ‘there’s nothing wrong with Susan that the firm hand of a man in the house wouldn’t cure’. She quarrels with her sister Margaret (Myrna Loy) over him, until their uncle, psychiatrist Matt Beemish (Ray Collins) intervenes. In the 1947 romantic comedy, The Bachelor and the Bobby-Soxer, Shirley Temple plays 17-year-old Susan Turner, who becomes infatuated with the other title character, Richard Nugent (Cary Grant). In contrast, the customary response in this situation is more like this: With an extra layer of irony, at least for us connoisseurs, he’s played by Danish comedy favorite Dirch Passer, who had administered some magnificent screen spankings in his time,īut is now reduced to a state of startled, involuntary voyeurism.īut there is a fundamental difference between those earlier spanking scenes and this one, and it is encapsulated in those two little words that Merete says when threatened with a spanking: ‘ Ja, tak’ (Yes, please). The humor of the scene lies in the fact that Merete has been followed home by her colleague, the comic drill sergeant Valby, and he is looking in through the window. Wallowing in unnecessary luxury.Īnd there follows a chase around the living room, culminating in: HERMANN: Soon you’ll have to go out to work. HERMANN: Lovely wrapper! What’s the price tag?
On the occasion in question, he first compliments her, then gives her a little something to worry about. She usually gets home shortly before Hermann, giving herself just enough time to beautify herself and change into some suitably clingy dress for his attentions. He’s a firm believer that a woman’s place is in the home, but in reality she has secretly got herself a weekday career, as a first lieutenant in the Danish army, in charge of a trainee unit of young women, the ‘piger i trøjen’ of the title. The story revolves around Hermann Clausen (Klaus Pagh), a Danish diplomat who spends the week in Brussels and then comes home to spend the weekend in domestic bliss with his ‘little pussycat’ of a wife, Merete (Berrit Kvorning). Now let’s look at another example from what may be the last mainstream cinema spanking to be produced in Denmark, in the girls-in-the-army comedy Piger i Trøjen 2 (1976). Last time we saw how spanking scenes, so widespread in the mainstream English-speaking media until the early 1960s, then gradually disappeared, rendered first old-fashioned, then incomprehensible, by changes in social attitudes and behavior.
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