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Ah, Wilderness! (1935)

Passed | | Comedy, Drama | April 1936 (Japan)
Story of small-town life in turn-of-the-century America, and a young boy's problems facing adolescence.

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(screen play), (screen play) | 1 more credit »
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Cast

Complete credited cast:
...
Sid
...
Nat
Aline MacMahon ...
Lily
...
Cecilia Parker ...
...
...
...
Mr. McComber (as Charles Grapewin)
...
Edward J. Nugent ...
Wint (as Edward Nugent)
...
Helen Flint ...
Helen Freeman ...
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Storyline

Young idealist Richard Miller is selected as valedictorian for his New England high school commencement class of 1906 and intends to inject modern anti-capitalistic ideas into his speech. His father, Nat Miller, accidentally learns of it and interrupts Richard's speech before he can make a fool of himself. The small town later celebrates the Fourth of July with customary fireworks, picnics and the like, with Richard spending time with his girl, Muriel McComber, who promises she will allow him to kiss her one day. When Richard sends poems of love to Muriel, quoting the likes of Omar Khayyám and Swinburne, her father prevents her from ever seeing him again and forces her to write a letter denouncing him. Heartbroken, Richard drowns his sorrow in a local bar, drinking and smoking with a vamp called Belle, and comes home drunk. Alcoholic uncle Sid, who is used to the effects of liquor, nurses Richard back to sobriety, but Richard still must face the uncertain punishment of his father as ... Written by Arthur Hausner <genart@volcano.net>

Plot Summary | Add Synopsis

Taglines:

The play that startled the nation!

Genres:

Comedy | Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

April 1936 (Japan)  »

Also Known As:

Ayer como hoy  »

Filming Locations:

 »

Company Credits

Production Co:

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Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The gazebo in this film, a symbol of the typical American town, was built specially for the movie. See more »

Goofs

Belle's mole on her cheek/upper lip disappears halfway through her scene, then reappears later. See more »

Quotes

Essie: [as Richard comes home as in a trance and goes upstairs without saying anything] You don't suppose he's been...
Nat: No, that's love, not liquor.
See more »

Connections

Referenced in Happy Days: Ah, Wilderness (1980) See more »

Soundtracks

The Star Spangled Banner
(1814) (uncredited)
Music from "To Anacreon in Heaven" by John Stafford Smith
Played during the Fourth of July celebration
See more »

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User Reviews

A faded but still charming comedy drama, with a Beery standout
18 September 2000 | by (London) – See all my reviews

"It seems as if we are surrounded by love" says Barrymore's genial patriarch at the end of this movie. To this viewer at least, the line has perhaps acquired an unintended irony as we contemplate the dulling nature of that ‘love'. O'Neill's work, which originally made gentle mockery of small town middle American taste and values, has perhaps unfortunately, these days gained an uncalled-for 'satiric' edge. The charm and skill of the original vision, captured by the craftsman-like direction of Brown, remains the same. What's happened is that the mildly eccentric, extended Miller family - one for instance in which Swinburne is considered shocking, and radicalism is half digested by callow youths (and then abruptly discarded) now appears stultifying, and we can too easily over compensate by allowing it the hues of a parody. Otherwise it takes a stupendous suspension of disbelief by today's viewer to accept the Millers on their own terms, apple pie and all, which is a shame.

A very young Mickey Rooney has a few scenes but is rarely allowed to really shine. This sort of role was no doubt good grounding for the enormously successful Andy Hardy series that lay ahead.

Wallace Beery, as Sid Miller, provides the most entertaining scenes in the film as he plays out another characteristically ungainly and comic romance, one typical of his screen roles. (Although he is given top billing, his screen presence is less sustained and more integrated than you'd expect.) Particularly memorable is the evening meal scene where he returns home drunk, and the family are gathered around the table to enjoy his antics. Even Lily, the woman who has consistently refused his repeated proposals through her distaste of his drunkenness, laughs at his comic behaviour. In this sense Beery provides a degree of liberation. The family is relaxed and draws together around the light of Beery's unthreatening inebriation. Some of his interior scenes remind one of W C Fields' work in The Bank Dick and It's a Gift, where he deconstructs the pretensions of middle class America with an anarchic sharpness that speaks to us much more directly today.

All in all it's a shame that the focus of the film is more on the young son Richard, whose unsteady standing on the border of manhood is never that enthralling. After a while his foibles and self-absorption become somewhat cloying, and one longs for Beery to reappear so that the fun can recommence. If Richard's on-off romance (and eventual drunkenness) is intended to parallel Sid's, then the comparison is very much to his detriment. Whilst Sid's romance seems important and meaningful, the son's is slow and irritates the modern viewer by the degree of feyness.

In short, an entertaining enough film, full of strong performances, but one which needs a dose of modern salt to make it just that little bit more palatable.


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