At a family reunion, the Cooper clan find that their parents' home is being foreclosed. "Temporarily," Ma moves in with son George's family, Pa with daughter Cora. But the parents are like sand in the gears of their middle-aged children's well regulated households. Can the old folks take matters into their own hands? Written by
Rod Crawford <firstname.lastname@example.org>
When he moved to Columbia, Leo McCarey found himself often at loggerheads with its notoriously difficult head, Harry Cohn. Whenever he went over budget or fell behind schedule on The Awful Truth (1937), Cohn would remind him of the commercial failure of Make Way for Tomorrow (1937). When The Awful Truth (1937) was released to great acclaim and excellent box office, McCarey led Cohn to believe that he would renew his contract with Columbia. But the day before they had agreed to sign, McCarey took out an ad in Variety announcing that he had just signed with RKO, the studio where he made two of his biggest hits, Going My Way (1944) and The Bells of St. Mary's (1945). See more »
Position of George and Anita's hands change when talking about Rhoda getting her own apartment. See more »
It took me a while to get into this one. It's kind of awkward and uncomfortable, but it turns out that's largely the point. The story is about an elderly married couple (Victor Moore and Beulah Bondi) who lose their house to the bank. None of their five children has enough room for both of them, so they end up breaking up, supposedly temporarily, to live in the homes of two of their children. Moore goes with his daughter (Minna Gombell) and Bondi goes with her son (Thomas Mitchell). Much of the movie focuses on Bondi living with her son's family (Fay Bainter is Mitchell's wife and Barbara Read his daughter). It's Hell for all of them. Bondi's old fashioned ways are annoying to the family. She herself feels out of place and confused, having lived with her husband for 50 years. Meanwhile, Moore is having just as awful a time at his daughter's place. The whole picture finds its way to one of the most satisfying and powerful final acts I've seen, where the old couple finally reunites. It's pretty much the first time in the film we see them spend a significant amount of time together, and these two people who seemed so awkward apart feel like a whole together. We see their love, we feel for what they've lost. It's absolutely gorgeous. The very end of the film is a killer. I've never quite seen a film like this (well, Tokyo Story is obviously in part based on this). On a rewatch, I think it may be a lot stronger, but I liked it a heck of a lot this time around.
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