Return to Peyton Place is a 1961 American drama film in color by De Luxe and CinemaScope, produced by Jerry Wald, directed by José Ferrer, and starring Carol Lynley, Tuesday Weld, Jeff Chandler, Eleanor Parker, Mary Astor, and Robert Sterling.

She goes on to publish a tell-all novel that fictionalizes the scandal, homicide, suicide, incest, and moral hypocrisy that belies the tranquil façade of her hometown.

Among these criticizing her is Mrs. Roberta Carter, an old-fashioned, domineering woman who is unhappy that her son Ted has a close bond with Selena.

At the accident scene, young ski instructor Nils Larsen helps Selena, and although she initially treats him coldly, she feels attracted to him.

Back in Peyton Place, Raffaella threatens to ban Ted's mother from their life, if she continues to treat her horribly.

She loses her mind, as a result, and strikes Nils with a fireplace poker, having flashed back to her past trauma and confusing him with Lucas, her abuser.

Despite the quarrel with her mother, Allison decides to support Mike, who has taken his case of being fired directly to Peyton Place's town hall.

Nils points out that the bigoted townspeople have now driven away Selena, who is nowhere to be found, revealing his hope to marry her if she ever returns to Peyton Place.

Selena returns and blames the small-minded townspeople for making her feel ashamed, while thanking Allison for having written the truth about their hypocrisy.

In the end Roberta is denounced and Mike is given back his job after Constance publicly points out that the older, bigoted townspeople have been manipulating the lives of their children for far too long.

The 1957 screen adaptation of Metalious' first novel had been a critical and commercial success, ranking second at the box office and garnering nine Academy Award nominations.

[3] This was part of a long range plan: Buddy Adler, head of production at Fox, was paying authors in advance to write novels that he could turn into films.

[6] In August 1959, Wald announced Varsi was not reprising her role, and that he was planning on replacing her with Anna Maria Alberghetti, with production slated to begin in November 1959.

[19] It allowed Wald in June 1960 to travel to the East in order to offer a role in the film to Mary Ure, a stage actress.

[21] When Norma Shearer declined the role of Constance, Bette Davis was offered the part in October 1960, but she had to turn it down due to previous Broadway commitments.

[22] At one point in late 1960, Gene Tierney and Lee Remick were cast in the starring roles, but it was reported in November 1960 that both withdrew due to pregnancy.

[28] Tuesday Weld replaced Lois Smith as Selena Cross at the last minute in December 1960, while Luciana Paluzzi took over Barbara Steele's role as Ted's wife.

The New York Times called it "so labored, so repetitious of its predecessor (both literally and in terms of more of the same) that it can scarcely reward even the thrill seeker".

[33] The film's theme, "The Wonderful Season of Love," was written by Paul Francis Webster and Franz Waxman and performed by Ferrer's then-wife Rosemary Clooney.

Variety described the film as "a high-class soap opera" and added, "José Ferrer's direction of this material is deliberate, but restrained and perceptive...

[35] Bosley Crowther of The New York Times praised Mary Astor, but wrote, "... the script of Ronald Alexander is simply shallow and diffuse, and the direction of José Ferrer does very little to improve on those qualities".

[37] Robert Firsching of AllMovie said the film was "sillier than the original, adding to its problems by completely recasting all the roles, combining several of them into existing characters".