What streaming service has Where Angels Go Trouble Follows?

A young progressive nun creates headaches for the Mother Superior.

Houston opening: 3 Apr 1968

Based on characters created by Jane Trahey.

Despite misgivings, conservative Mother Superior Simplicia accompanies progressive Sister George and the girls of St. Francis Academy in Pennsylvania to an ecumenical rally in California. En route they encounter a gang of motorcyclists, intent on rape; spend a night at a Catholic boys' school administered by Father Chase, during which the girls demonstrate bomb manufacture and attend a rock dance; are hosted in New Mexico by Mr. Farriday and his six sons; and are attacked in Arizona by Indian extras enraged at the film director employing them. During the California rally, the nuns, inspired by the spirit of Christian fellowship, resolve their differences, changing their former habits for short skirts and ebony hose.

Houston opening: 3 Apr 1968

Based on characters created by Jane Trahey.

The late 1960s saw an explosion of films that tried to make sense of the chaotic events of the era or to capture its spirit, either seriously, like Midnight Cowboy (1969), or comically, like I Love You, Alice B. Toklas (1968). But no matter what the subject matter, most films of that time in some way reflected what was going on in the swingin' sixties, even if it was just in fashions or the editing style.

Where Angels Go, Trouble Follows (1968) was a lightweight sequel to the very successful family comedy The Trouble with Angels (1966). Both were stories of life at Catholic girls' school, and the conflicts between the strict nuns and the high-spirited girls. In Where Angels Go, Trouble Follows, Rosalind Russell is back in the habit as Mother Superior. This time she has the help of Stella Stevens as a young nun, Sister George, who understands and sympathizes with the rebellious students. As rebelliousness goes, this is pretty mild, but it's entertainingly decked out with all the swingin' sixties trappings.

The theme song is by Tommy Boyce and Bobby Hart, who composed many of the decade's bubblegum hits, including most of the Monkees' classics. There's the mandatory quick-cut chase scene, and the now-you-see-them-now-you-don't cameos by stars like Milton Berle, Robert Taylor and Van Johnson. And talk about cutting edge - there's even a sequence with some bikers who look like Hell's Angels. Best of all, for fans of The Trouble with Angels, there are the familiar faces. Character actresses Mary Wickes, Binnie Barnes and Dolores Sutton reprise their roles as nuns from the original film. Wickes would later don the habit yet again for her amusing turn in both Sister Act (1992) and the sequel, Sister Act 2: Back in the Habit (1993). And, of course, there are lessons to be learned on both sides of the generation gap. Nothing wrong with a little tradition, even in the swingin' sixties.

All in all, it's good, clean fun, which in 1968 was getting harder and harder to find at the movies. Critics complained that Where Angels Go, Trouble Follows did not match the charm of its predecessor...but then, very few sequels do. When there's comedy talent like Rosalind Russell and company to watch, that's pleasure enough.

by Margarita Landazuri

The late 1960s saw an explosion of films that tried to make sense of the chaotic events of the era or to capture its spirit, either seriously, like Midnight Cowboy (1969), or comically, like I Love You, Alice B. Toklas (1968). But no matter what the subject matter, most films of that time in some way reflected what was going on in the swingin' sixties, even if it was just in fashions or the editing style. Where Angels Go, Trouble Follows (1968) was a lightweight sequel to the very successful family comedy The Trouble with Angels (1966). Both were stories of life at Catholic girls' school, and the conflicts between the strict nuns and the high-spirited girls. In Where Angels Go, Trouble Follows, Rosalind Russell is back in the habit as Mother Superior. This time she has the help of Stella Stevens as a young nun, Sister George, who understands and sympathizes with the rebellious students. As rebelliousness goes, this is pretty mild, but it's entertainingly decked out with all the swingin' sixties trappings. The theme song is by Tommy Boyce and Bobby Hart, who composed many of the decade's bubblegum hits, including most of the Monkees' classics. There's the mandatory quick-cut chase scene, and the now-you-see-them-now-you-don't cameos by stars like Milton Berle, Robert Taylor and Van Johnson. And talk about cutting edge - there's even a sequence with some bikers who look like Hell's Angels. Best of all, for fans of The Trouble with Angels, there are the familiar faces. Character actresses Mary Wickes, Binnie Barnes and Dolores Sutton reprise their roles as nuns from the original film. Wickes would later don the habit yet again for her amusing turn in both Sister Act (1992) and the sequel, Sister Act 2: Back in the Habit (1993). And, of course, there are lessons to be learned on both sides of the generation gap. Nothing wrong with a little tradition, even in the swingin' sixties. All in all, it's good, clean fun, which in 1968 was getting harder and harder to find at the movies. Critics complained that Where Angels Go, Trouble Follows did not match the charm of its predecessor...but then, very few sequels do. When there's comedy talent like Rosalind Russell and company to watch, that's pleasure enough. Producer: William FryeDirector: James Neilson Screenplay: Blanche Hanalis, based on characters created by Jane Trahey Editor: Adrienne Fazan Cinematography: Sam Leavitt Production Designer: Lyle Wheeler Music: Lalo Schifrin Cast: Rosalind Russell (Mother Superior Simplicia), Stella Stevens (Sister George), Binnie Barnes (Sister Celestine), Mary Wickes (Sister Clarissa), Dolores Sutton (Sister Rose Marie), Susan St. James (Rosabelle). C-94m. by Margarita Landazuri

Turner Classic Movies Pays Tribute to Van Johnson on Tuesday, December 23rd with the following festival of films. This program will replace the previously scheduled movies for that day so please take note. The new schedule for the evening of Tuesday, December 23rd will be:

8:00 PM In the Good Old Summertime 9:45 PM A Guy Named Joe 12:30 AM Thirty Seconds Over Tokyo 2:30 AM The Last Time I Saw Paris

4:30 AM Thrill of a Romance

Van Johnson (1916-2008)

He was born Charles Van Dell Johnson on August 25, 1916, in Newport, Rhode Island. By his own account, his early childhood wasn't a stable one. His mother abandoned him when he was just three and his Swedish-born father offered little consolation or nurturing while he was growing up. Not surprisingly, Johnson found solace in singing and dancing lessons, and throughout his adolescence, he longed for a life in show business. After graduating high school in 1934, he relocated to New York City and was soon performing as a chorus boy on Broadway in shows such as New Faces of 1936 and eventually as an understudy in Rodgers and Hart's musical, Too Many Girls in 1939.

Johnson eventually made his way to Hollywood and landed an unbilled debut in the film version of Too Many Girls (1940). By 1941, he signed a brief contract with Warner Bros., but it only earned him a lead in a "B" programmer Murder in the Big House (1941); his contract soon expired and he was dropped by the studio. Johnson was on his way back to New York, but as luck would have it - in the truest Hollywood sense - friends Lucille Ball and Desi Arnaz introduced him to Billy Grady, a lead talent scout at MGM, which was currently Ball's new studio. Johnson was signed up and almost immediately MGM had a star on its hands.

It might have been slow going at first, with Johnson playing able support in films such as Dr. Gillespie's New Assistant and The War Against Mrs. Hadley (both 1942). By 1943 the studio capitalized on his broad smile and freckles and starred him in two of the studio's biggest hits: A Guy Named Joe and The Human Comedy. Those two films transformed him into a boxoffice draw with a huge following, particularly among teenage girls. A near fatal car accident that same year only accentuated the loyalty of his fans, and his 4-F status as the result of that accident created an opportunity for him when so many other leading actors of the era (James Stewart, Clark Gable) were off to war. Johnson was quickly promoted as MGM'sleading man in war heroics and sweet romancers on the big screen: The White Cliffs of Dover, Thirty Seconds Over Tokyo (both 1944), Thrill of a Romance, the episodic Week-End at the Waldorf (both 1945), and a musical remake of Libeled Lady entitled Easy to Wed (1946).

Hits though these were, it wasn't until after the war that Johnson began to receive more dramatic parts and better material such as supporting Katharine Hepburn and Spencer Tracy in the political farce State of the Union (1948). other significant roles included the well-modulated noir thriller The Scene of the Crime, the grim war spectacle Battleground (both 1949), the moving domestic drama Invitation (1952) in which he played a man who is paid to marry a woman (Dorothy McGuire) by her father. Before he left MGM, he closed his career out in fine form with the sweeping musical Brigadoon, co-starring Gene Kelly and Cyd Charisse; and the lilting soaper The Last Time I Saw Paris (both 1954) with Elizabeth Taylor.

After he left MGM, the parts that came Johnson's way weren't as varied, but he had his moments in The Caine Mutiny (1954), the beguiling romance drama Miracle in the Rain (1956) with Jane Wyman; and his lead performance in one of the first successful made for-TV-movies The Pied Piper of Hamelin (1957). By the '60s, Johnson returned to the stage, and played the title role in London's West End production of The Music Man. He then returned to Broadway in the drama Come on Strong. He still had a few good supporting parts, most notably as Debbie Reynolds' suitor in Norman Lear's scathing satire on marital differences Divorce American Style (1967); and television welcomed his presence on many popular shows in the '70s and '80s such as Maude, Fantasy Island, The Love Boat and of course Murder She Wrote. There was one last graceful cameo in Woody Allen's The Purple Rose of Cairo (1985), yet for the most remainder of his career, Johnson worked mainly on the dinner theater circuit before retiring from showbiz completely by the mid-90s. He is survived by a daughter, Schuyler.

by Michael T. Toole

Turner Classic Movies Pays Tribute to Van Johnson on Tuesday, December 23rd with the following festival of films. This program will replace the previously scheduled movies for that day so please take note. The new schedule for the evening of Tuesday, December 23rd will be: 8:00 PM In the Good Old Summertime 9:45 PM A Guy Named Joe 12:30 AM Thirty Seconds Over Tokyo 2:30 AM The Last Time I Saw Paris 4:30 AM Thrill of a Romance Van Johnson (1916-2008) Van Johnson, the boyish leading man whose clean cut, All-American appeal made him a top box-office draw for MGM during World War II, died on December 12 in Nyack, New York of natural causes. He was 92. He was born Charles Van Dell Johnson on August 25, 1916, in Newport, Rhode Island. By his own account, his early childhood wasn't a stable one. His mother abandoned him when he was just three and his Swedish-born father offered little consolation or nurturing while he was growing up. Not surprisingly, Johnson found solace in singing and dancing lessons, and throughout his adolescence, he longed for a life in show business. After graduating high school in 1934, he relocated to New York City and was soon performing as a chorus boy on Broadway in shows such as New Faces of 1936 and eventually as an understudy in Rodgers and Hart's musical, Too Many Girls in 1939. Johnson eventually made his way to Hollywood and landed an unbilled debut in the film version of Too Many Girls (1940). By 1941, he signed a brief contract with Warner Bros., but it only earned him a lead in a "B" programmer Murder in the Big House (1941); his contract soon expired and he was dropped by the studio. Johnson was on his way back to New York, but as luck would have it - in the truest Hollywood sense - friends Lucille Ball and Desi Arnaz introduced him to Billy Grady, a lead talent scout at MGM, which was currently Ball's new studio. Johnson was signed up and almost immediately MGM had a star on its hands. It might have been slow going at first, with Johnson playing able support in films such as Dr. Gillespie's New Assistant and The War Against Mrs. Hadley (both 1942). By 1943 the studio capitalized on his broad smile and freckles and starred him in two of the studio's biggest hits: A Guy Named Joe and The Human Comedy. Those two films transformed him into a boxoffice draw with a huge following, particularly among teenage girls. A near fatal car accident that same year only accentuated the loyalty of his fans, and his 4-F status as the result of that accident created an opportunity for him when so many other leading actors of the era (James Stewart, Clark Gable) were off to war. Johnson was quickly promoted as MGM'sleading man in war heroics and sweet romancers on the big screen: The White Cliffs of Dover, Thirty Seconds Over Tokyo (both 1944), Thrill of a Romance, the episodic Week-End at the Waldorf (both 1945), and a musical remake of Libeled Lady entitled Easy to Wed (1946). Hits though these were, it wasn't until after the war that Johnson began to receive more dramatic parts and better material such as supporting Katharine Hepburn and Spencer Tracy in the political farce State of the Union (1948). other significant roles included the well-modulated noir thriller The Scene of the Crime, the grim war spectacle Battleground (both 1949), the moving domestic drama Invitation (1952) in which he played a man who is paid to marry a woman (Dorothy McGuire) by her father. Before he left MGM, he closed his career out in fine form with the sweeping musical Brigadoon, co-starring Gene Kelly and Cyd Charisse; and the lilting soaper The Last Time I Saw Paris (both 1954) with Elizabeth Taylor. After he left MGM, the parts that came Johnson's way weren't as varied, but he had his moments in The Caine Mutiny (1954), the beguiling romance drama Miracle in the Rain (1956) with Jane Wyman; and his lead performance in one of the first successful made for-TV-movies The Pied Piper of Hamelin (1957). By the '60s, Johnson returned to the stage, and played the title role in London's West End production of The Music Man. He then returned to Broadway in the drama Come on Strong. He still had a few good supporting parts, most notably as Debbie Reynolds' suitor in Norman Lear's scathing satire on marital differences Divorce American Style (1967); and television welcomed his presence on many popular shows in the '70s and '80s such as Maude, Fantasy Island, The Love Boat and of course Murder She Wrote. There was one last graceful cameo in Woody Allen's The Purple Rose of Cairo (1985), yet for the most remainder of his career, Johnson worked mainly on the dinner theater circuit before retiring from showbiz completely by the mid-90s. He is survived by a daughter, Schuyler. by Michael T. Toole

A sequel to The Trouble With Angels, q. v.

Released in United States Spring March 1968

Sequel to "The Trouble With Angels" (1966) directed by Ida Lupino.

Released in United States Spring March 1968