Harrison's Reports (1951)

June 9, 1951 HARRISON’S REPORTS 91 “As Young as You Feel” with Monty Woolley, Thelma Ritter and David Wayne (20tJi Century -Fox, June; time, 77 min.) An entertaining blend of comedy and drama, revolving around the complications that result when an elderly printer resorts to a hoax to put a stop to the arbitrary retirement of workers who have reached the age of sixty-five. It is a family-type comedy that keeps one chuckling throughout, for the situations, though not hilarious, are amusing. As the elderly printer who resents his discharge, Monty Woolley is the central figure in the story. He performs in his usual capable manner, making the characterization lovable and provoking laughter by what he says and does. Thelma Ritter, Constance Bennett, Allyn Joslyn, Jean Peters, David Wayne, Marilyn Monroe and Albert Dekker are among the other players in the competent cast who help to put over the amusing story idea: — Woolley, employed in the hand press department of a large printing firm, lives with Allyn Joslyn, his son, Thelma Ritter, Joslyn’s wife, and Jean Peters, their daughter, who was engaged to David Wayne. In accordance with the firm’s established policy, Woolley finds himself automatically re* tired when he reaches the age of sixty-five. Hurt deeply, he determines to do something about the over-65 rule. He investigates and discovers that the firm is a subsidiary of giant Consolidated Motors, whose president (Minor Watson) had never been seen by the executives of the printing firm. Darkening his beard, Woolley assumes the identity of Watson and visits the printing plant for a tour of inspection. The executives, headed by Albert Dekker, try their utmost to impress him and, when he frowns on the over-65 retirement rule, Dekker quickly issues an order to rescind the rule and re-hire every overage man. Woolley also makes a speech before the local chamber of commerce on the dignity of man and his right to employment. Before “leaving town," Woolly is invited to dinner at Dekker’s home, where his charm makes such an impression on Constance Bennett, Dekker’s neglected wife, that she imagines herself in love with him. Returning home, Woolley informs the family of his hoax and all fear that he will be sent to jail. Meanwhile his speech makes front-page news all over the country and is received so well that it boosts the value of Consolidated stock and brings great honor upon Watson, the man he impersonated. Watson, both disturbed and amused, sends two detectives to the printing plant to find out what happened, and Dekker faints away when he learns that he had been duped. Before Dekker can take action against Woolley, Watson arrives in town and offers the old gentleman an important public relations job with Consolidated. Woolley, however, declines the post, stating that he preferred to remain a hand-press operator. Watson assures him that the job is his as long as he wants it. Lamar Trotti produced it and wrote the screenplay, based on a story by Paddy Chayefsky. It was directed by Harmon Jones. Suitable for all. “Two Gals and a Guy” with Robert Alda, Janis Paige and James Gleason (United Artists, June 29; time, 70 min.) Just a mildly amusing comedy with some music, strictly for the lower half of a double bill. Revolving around the com« plications that result when a successful TV husband-and-wife team split because of her desire to raise a family, the story is pretty weak, tiring one. In fact, it seems a pity to waste the talents of the players in anything like this, for, despite their efforts, they are so handicapped by the poor story material and uneven direction that they fail to make an impression. A few of the spots provoke laughter, especially at the beginning where home television reception is kidded; but for the most part the comedy antics of the characters are too forced to be funny: — Robert Alda and Janis Paige, a successful husband-andwife team on television, are managed by James Gleason, who has his hands full trying to renew their contract with Lionel Stander, their irritable sponsor. Complications arise when Janis, desiring a normal home and married life, tries to adopt a baby. Lest this result in a breakup of their team, Alda, aided by Gleason, stops the adoption by giving the foundling home authorities the impression that he and Janis would not make suitable parents. Janis, discovering this perfidy, leaves Alda and keeps her whereabouts a secret. Frantic lest her failure to appear with him on the show will result in a cancellation of their contract with Stander, Alda, aided by Gleason and Arnold Stang, a hungry relative, finds a dress model (also played by Miss Paige) who looked remarkably like Janis. He makes a deal with her to impersonate Janis on the show, and takes her to his apartment to teach her the routine. This serves to widen the breach between Alda and Janis, who shows up at the apartment and suspects him of being unfaithful when she finds the model there. On the night of the show, the model’s inept talent almost ruins the act, but Janis, having had a change of heart, shows up in time to replace her and save the situation. It all ends with the pair adopting four children while continuing their careers. It was produced by John W. Arent and directed by Alfred E. Green from an original screen play by Irving Weisner. Harmless for the family. “Showboat” with Kathryn Grayson, Ava Gardner, Howard Keel and Joe E. Brown (MGM, July; time, 107 min.) An excellent Technicolor version of the famed Jerome Kern musical, based on Edna Ferber’s equally famous novel. It has been filmed twice before, but the color photography makes this version far superior. Being a story that has almost every element that makes for popular entertainment, it is sure to have a wide appeal. More than anything else, how« ever, it is the Jerome Kern melodies, such as “Ol’ Man River," “Make Believe,” “Why Do I Love You,” "My Bill” and “Can’t Help Lovin' Dat Man” that will delight audiences. These songs, which never seem to grow old, are sung in fine voice by Kathryn Grayson, Howard Keel, Ava Gardner and William Warfield, with Mr. Warfield’s singing of “01’ Man River" particularly thrilling. As to the story, it is romantically pleasant and at times deeply moving, with many touching situations that tug at one’s heartstrings. Miss Grayson, as “Magnolia,” and Mr. Keel, as “Gaylord Ravenal," are ideal in the romantic leads. Ava Gardner, as “Julie,” the erring mulatto singer, is exceptionally good. Joe E. Brown, as “Captain Andy,” Agnes Moorehead, as his wife, and Marge and Gower Champion, as a dance team, are among the others in the capable cast who contribute much to the entertainment values. The production is extremely lavish, and it catches with realism the charm and colorful atmosphere of the old Mississippi show boat days. Hardly any change has been made in the story line. It opens with Ava, the show boat’s leading lady, forced out of town by the authorities when they discover that she had Negro blood and is married to the white leading man. Over the objections of his wife, Brown, owner of the show boat, insists that Kathryn, his daughter, take over the lead. Brown engages Howard Keel, a handsome river gambler, as the new leading man. Kathryn and Keel fall in love and, despite her mother’s protests, marry. They go to live in Chicago, where Keel's gambling luck keeps them in luxury for a while. When his luck changes and they become poverty-stricken, Keel leaves Kathryn, explaining in a note that he was not worthy of her. Kathryn, penniless and expecting a baby, a fact unknown to Keel, tries out for a singing job in a fashionable Chicago hotel, where Ava was the star performer. Without making her presence known to Kathryn, Ava quits so that she might have the job. Brown, visiting Chicago, finds Kathryn singing at the hotel and persuades her to return to the show boat, where her daughter is born. Some years later, Keel meets Ava, now a drink-sodden woman abandoned by her husband, and learns from her that he has a five-year-old daughter. She persuades him to return to Kathryn, and it all ends with a touching reconciliation on the show boat. It was produced by Arthur Freed and directed by George Sidney from a screen play by John Lee Mahin, based on the play by Jerome Kern and Oscar Hammerstein, II. Suitable for the entire family.