
The Swingin-est Blast Ever Filmed A young music student faces expulsion after her instructors learn she is moonlighting as a pop-music writer.
Does Get Yourself a College Girl have end credit scenes?
No!
Get Yourself a College Girl does not have end credit scenes. You can leave when the credits roll.
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Explore the complete cast of Get Yourself a College Girl, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Percy Helton
Chauffeur for Senator Morrison

Sidney Miller

Chad Everett
Gary Underwood

Fabrizio Mioni
Armand

Mary Ann Mobley
Teresa 'Terry' Taylor

Nancy Sinatra
Lynne

Joan O'Brien
Marge Endicott

Paula Lane

Astrud Gilberto
Astrud Gilberto

Stan Getz
Self

Dorothy Neumann
Martha Stone, the school dean

Chris Noel
Sue Ann Mobley

Hortense Petra
Donna, the Photographer

Willard Waterman
Senator Hubert Morrison

James Millhollin
Gordon

Donnie Brooks
Donnie

Paul Todd
Ray
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Read the complete plot summary of Get Yourself a College Girl, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
Terry Taylor is a senior at the conservative Wyndham College for Women, and, under an assumed name, a successful pop songwriter. When her double life is exposed by her publisher, Gary Underwood unknowingly reveals her career, drawing the attention and condemnation of Wyndham’s board of trustees, led by a powerful California State figure Senator Hubert Morrison, who deems Terry’s behavior indecent. The scandal threatens her future at the college, and Terry must confront the pressure of impending expulsion.
To distract herself from this looming crisis, Sue Ann Mobley and Lynne, along with their physical-education instructor Marge Endicott, embark on a Christmas-break ski vacation in Sun Valley, Idaho. The trip brings them into contact with the familiar names from Terry’s life: Gary Underwood and his artist friend Armand, a charismatic duo who spark new romantic possibilities, while Morrison seeks to boost his appeal by courting the youth vote. Lynne’s husband accompanies them, creating a blend of personal loyalties and political ambitions that will test everyone involved.
As the vacation unfolds, the backdrop is alive with performances by The Dave Clark Five, The Animals, and other musical acts, lending energy to the chilly scenery and the social dynamics at play. Gary and Terry find themselves drawn toward each other, their initial publisher-propelled connection evolving into genuine attraction. Meanwhile, Armand and Sue Ann Mobley also form a connection, adding a layer of complexity to the group’s holiday dynamics. The pairings are playful but carry real tension, especially as the adults—led by Morrison—watch from the wings, weighing the costs of scandal against the allure of youth.
Morrison attempts to project confidence by showing off his dancing and charisma, even as a damning newspaper photograph threatens his re-election bid. The vacation becomes a delicate dance between image and reality, as the participants publicly demonstrate their support for Morrison’s platform while privately navigating their evolving relationships. The ensemble works to keep Terry’s secret life from derailing everyone’s plans, balancing preservation of reputation with the pull of romance and freedom.
Ultimately, the trip underscores a larger message about youth, leadership, and the power of media in shaping public opinion. Through musical interludes, intimate conversations, and strategic moves aimed at swaying public perception, the characters navigate the tension between appearances and truth. The result is a nuanced look at how politicians court younger voters, how personal choices ripple through a close-knit circle, and how a single vacation can redefine loyalties while keeping the core questions of integrity, ambition, and affection front and center.

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