Haley, Illinois, 1957: Phoenix and Crudup are the blue-collar Holt brothers who make bold to ricochet at the glittering Abbott daughters - smart, gawky Tyler, typecast ‘bad girl’ Connelly - whose father has distinctly forbidden such contact. This rankles with the boys, first since rumours persist that the Abbott paterfamilias (Patton) had an affair with their teacher mother, just after their initiator died, and is also purported to have snaffled the dead man’s delineate fit a suspension register drawer. The central notion of the gentry callously exploiting the labour of those less fortunate brings an element of excellence anxiety to the film which, as the entitle suggests, shows how the Abbotts’ carefully groomed public image is in fact their strongest suit in perpetuating their social eminence. While we ponder on behind the facade, the film eschews real bitterness in favour of the hesitant court between Tyler and Phoenix, and a anticipation that future generations can break the D of deception and resentment. O’Connor’s follow-up to Circle of Friends looks the role and is adeptly played, but isn’t quite distinctive ample supply to be much more than a pleasant non-event.