Danville, Connecticut at the turn of the century. Young Richard Miller lives in a middle-class neighborhood with his family. He is in love with the girl next-door, Muriel, but her father ... See full summary »
Television viewer seeing this for the first time: Gee whiz, it's in black-and-white and was made in the 40's and is about crime and...Eureka!...another "noir" film is discovered. How about ... See full summary »
An elderly Miss Morrison recounts her life as the once young and beautiful opera singer Marcia Morney-then the toast of Napoleon III's Paris. One evening, she encounters an American voice ... See full summary »
Robert Z. Leonard
Vincent Van Der Lyn, a Dutch freedom fighter in WWII, is forced to neutral Lisbon to escape the Nazis. There he meets a small band of underground conspirators. The group's leader, Ricardo ... See full summary »
Country orphan Lily goes to Berlin to stay with her tippling aunt, and soon meets Richard, handsome sculptor across the street. Persuaded half-reluctantly to pose for Richard, her physical ... See full summary »
To save his job, newsman Jeff Sherman offers to help his boss get out of a swingeing alimony settlement. But his devious plan to compromise Cornelia Porter, the judge on the case, while she... See full summary »
Susan Miller works behind the girdle counter in a department store and dreams about the beautiful clothes and glamour she can never hope to have. Enter May Worthington and Warren, a pair of... See full summary »
Danville, Connecticut at the turn of the century. Young Richard Miller lives in a middle-class neighborhood with his family. He is in love with the girl next-door, Muriel, but her father isn't too happy with their puppy-love, since Richard always share his revolutionary ideas with her. Written by
Filmed between June 17 and mid-October 1946, the film was not copyrighted until 26 November 1947, and its wide release was held back until April 16, 1948. The Manhattan opening at Lowe's State Theatre followed on June 11, 1948. See more »
At the beginning of the "Stanley Steamer" segment Richard Miller (Mickey Rooney) lights the burner in the steamer then gets in and drives away accompanied by several explosions from under the hood. A Stanley Steamer took several minutes to develop steam and could not be driven immediately, also there was nothing under the hood but a burner and a boiler neither of which would cause explosions of the type shown. See more »
Mankind was better off when lived in the Dark Ages. When everybody went around naked!
Well, maybe so. But today it might interfere with your social life.
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Quite bland musical version of Eugene O'Neill's gentle comedy play about a family in rural America before the first world war.
MGM made the first (non-musical) version in 1935 under the play's original title, AH, WILDERNESS! That film, which stars Eric Linden, Lionel Barrymore, and Wallace Beery is superb.
Here we get Mickey Rooney (aged 28 playing a high school senior), Walter Huston, and Frank Morgan. Huston and Morgan are OK, but Morgan can't hold a candle to Beery's Uncle Sid.
The rest of the cast here is competent but all the "edge" has been taken out of the original story. Agnes Moorehead plays the old maid aunt, Selena Royle is the mother, Gloria DeHaven is the girl next door, Butch Jenkins is the kid brother (Rooney played the role in the '35 film), and John Alexander plays the blowhard neighbor.
Not helping is the bland and forgettable music score. They would have been better off using real songs from the period.
The main problem is that Rooney is simply too old for this, and his acting is pretty bad. By 1948 he was already about to end his second marriage (first was to Ava Gardner). And here he is trying to play a virginal high schooler. It gets really sticky when he rebels and meets Belle.
In this version Belle is a chorus girl rather than a prostitute. Marilyn Maxwell is a breath of fresh air as the salty, plain-talking, overly made-up woman trying to take the green kid for a few bucks ... until another guy shows up. This is a nicely lit and interesting scene as Belle is "transformed" in Rooney's eyes from the cheap chorus girl into a colorful woman of the world. Maxwell is terrific. It's a great small role; in the '35 version Helen Flint was also terrific.
Bottom line is that this is just a so-so film. It can't compare with the '35 version of the story, and it certainly doesn't come up to the MGM standard for its '40s musicals. The movie was not a box office success.
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