*Violet Bick, in “It’s a Wonderful Life” (1946).
T.S. Lowry wrote of Its a Wonderful Life at looper.com on December 2, 2020:
“…George’s kindness is admirable, but it takes a toll on his well-being — and sometimes, it’s downright inappropriate. Consider the moment when George, a married man with kids, loans money to Violet Bick (Gloria Grahame), an attractive woman George and other men ogle throughout the movie. Violet has also had a thing for George since they were kids. George, at the very least, should talk to his wife before he gives away their money to other people. The kicker is the fact that George works at a bank that lends money. If the bank won’t loan Violet money because of a presumably rocky credit history, then he probably shouldn’t either! This is yet another careless thing George does to put others at ease, without worrying about the ramifications it’ll have on himself, as well as his wife and kids. It puts his family at a financial disadvantage and also leads to rumors about Violet and George’s relationship. That can’t be fun for his family to endure.
Times are different now than they were in the ’40s, but even then, most people wouldn’t be happy if their partner gave money to an attractive individual who uses said attractiveness as a tool to get money in the first place — at least not without a discussion, at the very least…”
Donald Chase wrote in the September-October 1997 Issue of Film Comment:
“…As Violet, one of the people whose lives would have been disastrously different had James Stewart’s George Bailey never lived, 22-year-old Grahame gives us, in seven snapshot-like scenes covering 17 years, the evolution of a flirt into a full-scale roundheels. In the early years, she is unrequitedly besotted with George, though capable of (comic) dudgeon after she discovers she’s ditched two good time Charlies to accept George’s offer of a platonic pastoral stroll. Later, as part of the group that sees off George and Mary (Donna Reed) on their honeymoon, Grahame brings her hand to her mouth in a touchingly ambiguous gesture. Does Violet feel joy for them? Sorrow for her single self? We don’t know. Later still, Grahame’s harrowingly electric as the wildly flailing, hoarsely shrieking, paddywagon-bound 35ish trollop of her 15-second had-George-never-lived (and given her a fresh-start loan) scene…”