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The Strawberry Blonde (1941)

7.4
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Ratings: 7.4/10 from 1,823 users  
Reviews: 33 user | 12 critic

Quick-tempered but likable Biff grimes falls big for beautiful Virginia Brush, but he's not the only young man in the neighborhood who's smitten.

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(screen play), (screen play), 1 more credit »
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Title: The Strawberry Blonde (1941)

The Strawberry Blonde (1941) on IMDb 7.4/10

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Nominated for 1 Oscar. See more awards »

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Cast

Complete credited cast:
...
Biff Grimes
...
Amy Lind
...
Virginia Brush
...
Old Man Grimes
...
Hugo Barnstead
...
Nicholas Pappalas
...
Mrs. Mulcahey
...
Harold
Lucile Fairbanks ...
Harold's Girl Friend
Edward McNamara ...
Big Joe
Helen Lynd ...
Josephine
Herbert Heywood ...
Toby
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Storyline

Biff Grimes is pugnacious but likable young man during the Gay 90's living with his ne'er-do-well father, noted for their scrappy personalities and quick tempers. Like every other young man in town, Biff has a crush on gorgeous and flirtatious 'strawberry blonde' Virginia Brush, who gets catcalls every time she walks past the all-male clientèle of the neighborhood barber shop. Biff is joined in his admiration by his friends, Nick Pappalis, an immigrant Greek barber, and Hugo Barnsfeld, an unscrupulously ambitious young man who doesn't let anything stand in the way of what he wants, including Virginia. Utilizing both fair means and foul Hugo sweeps Vrginia off her feet and frames Biff as the fall guy in a political graft schemee. However, every dog has his day, and eight years later Biff stands poised to take his revenge. Written by duke1029@aol.com

Plot Summary | Add Synopsis

Genres:

Comedy | Romance

Certificate:

Approved | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

22 February 1941 (USA)  »

Also Known As:

Uma Loira com Açúcar  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

The TCM print ran 99 minutes; the extra 2 minutes was due to a 'follow-the-bouncing-ball' sing-along after "The End," to the main song "The Band Played On." See more »

Goofs

The skins of the bananas that Biff eats, disappear from under the bench when he and Virginia stand up. See more »

Quotes

[last lines]
Biff Grimes: [repeated line] That's the kind of hairpin I am!
See more »

Connections

Referenced in Strangers on a Train (1951) See more »

Soundtracks

The Band Played On
(1895) (uncredited)
Music by Chas. B. Ward
Lyrics by John F. Palmer
Played and sung often throughout the film
See more »

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User Reviews

 
Brilliant, crisp film-making
29 December 2004 | by (Copenhagen, Denmark) – See all my reviews

I have a soft spot for this movie, it makes me cry and it challenges me. It hovers eagle-like over other pieces of quaint, nostalgic Americana in its brilliant mise-en-scène by overlooked film-maker Raoul Walsh, its crisp and very acute script, and its wonderful acting.

James Cagney is the small-town dentist, just out of jail, having been framed by his business partner and boyhood best friend, Jack Carson. Carson married the local beauty, Rita Hayworth of the film's title, and left Cagney with Hayworth's best friend, the free-thinking, no-nonsense Olivia De Havilland. And now, after all these years, Cagney learns that Carson is on his way to his dentist's practice with a bad tooth-ache. What to do ...?

There is such pain underlying all the ebullient humor of 'The Strawberry Blonde', and as usual Walsh gets away with superlative results from mixing genres. From the first frames of the bulldog chasing the cat and the two different social environments on each side of the garden wall, on one side throwing horse-shoes, on the other playing cricket, Walsh wastes no time and is always to the point, telling his story.

Everybody in this movie is perfect. Hayworth waltzes through it all by way of her radiant looks, but Cagney surpasses himself as this charming bigot, always with a black eye to show for the numerous scrapes he gets into.

Olivia De Havilland deserves a whole chapter to herself. I doubt if she was ever better than as the tough kooky, Amy, who never tires of preaching women's lib to Hayworth's Virginia ("I refuse to listen to advanced ideas!"). "What did we come for if not to be trifled with?", she asks, indignantly, of Virginia, seated as they are on the bench in the park, waiting for their beaus. She calls marriage "an institution started by the cavemen and endorsed by florists and jewelers" and insists on her right to pick up men by winking at them. De Havilland is hilarious, and you also notice the vulnerability beneath the feminist swagger.

Not everybody will care for 'The Strawberry Blonde'. If you only give it a superficial look, you will find it dated and cutesy, whereas it is everything but.


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