The comedic premise of "Dreamboat" faces significant challenges in terms of its plausibility, leading to a film that struggles to maintain a sense of coherence and believability. While comedies often have more leeway with their premises, even within the genre, there are limits to the level of absurdity that can be sustained effectively. Unfortunately, "Dreamboat," a 1952 comedy starring Clifton Webb and Ginger Rogers, pushes these limits to the point of undermining its own narrative.
The central premise revolves around English and Classical Literature Professor Thornton Sayre (Webb), who seeks a permanent injunction against NYC TV producer Sam Levitt (Fred Clark) for broadcasting silent movies from Sayre's earlier career as a matinee idol known as Bruce Blair, akin to Valentino. This premise raises eyebrows due to its lack of credibility. The notion that broadcasting decades-old melodramatic silent films could lead to scandal and jeopardize a professor's reputation is difficult to accept. The college's reaction and the portrayal of the broadcast's impact on television as a cause celebré appear contrived and disconnected from reality.
Furthermore, the film struggles to explain why Sayre keeps his past a secret from his daughter Carol (Anne Francis) and why he continues to do so even as she becomes a young adult. The lack of a compelling reason for this secrecy weakens the character dynamics and adds to the sense of implausibility.
In the film's second act, we are introduced to Gloria Marlowe (Rogers), a former flame of Sayre's who has now become a nightclub singer. Her involvement in promoting cosmetics while hosting the silent movies adds an additional layer of complexity, driven by her financial interests. However, Gloria's motivations and actions become focused when she attempts to manipulate Thornton by pretending to be indigent. Her goal is to persuade him to call off the lawsuit, showcasing her calculated efforts to exploit his sympathy for personal gain.
One notable strength of the film lies in its satirical recreation of silent movies, with Webb embodying the exaggerated heroics of Bruce Blair. These scenes offer a glimpse of humor and creativity, standing out amidst the film's shortcomings.
The climactic trial, in which Sayre wins a court case despite not holding rights to the films, further strains credibility. The judge's ruling based on altered films and their impact on Sayre's reputation lacks a solid foundation within the established narrative.
The film's conclusion includes sour notes, such as the dismissal of Sayre from his school after rebuffing unwanted advances from President Matilda Coffey (Elsa Lanchester). This subplot, attempting humor through inappropriate behavior, feels out of place and outdated.
The subplot involving Carol's romantic relationship and her father's objection also lacks clear resolution, making the reconciliation seem abrupt and unsatisfying.
Despite Webb's polished performance as the erudite professor, and Rogers' attempt at a pushy role, the film's premise hampers its comedic potential. "Dreamboat" struggles to deliver the punch expected from a comedy due to its implausible and disjointed narrative elements.
The central premise revolves around English and Classical Literature Professor Thornton Sayre (Webb), who seeks a permanent injunction against NYC TV producer Sam Levitt (Fred Clark) for broadcasting silent movies from Sayre's earlier career as a matinee idol known as Bruce Blair, akin to Valentino. This premise raises eyebrows due to its lack of credibility. The notion that broadcasting decades-old melodramatic silent films could lead to scandal and jeopardize a professor's reputation is difficult to accept. The college's reaction and the portrayal of the broadcast's impact on television as a cause celebré appear contrived and disconnected from reality.
Furthermore, the film struggles to explain why Sayre keeps his past a secret from his daughter Carol (Anne Francis) and why he continues to do so even as she becomes a young adult. The lack of a compelling reason for this secrecy weakens the character dynamics and adds to the sense of implausibility.
In the film's second act, we are introduced to Gloria Marlowe (Rogers), a former flame of Sayre's who has now become a nightclub singer. Her involvement in promoting cosmetics while hosting the silent movies adds an additional layer of complexity, driven by her financial interests. However, Gloria's motivations and actions become focused when she attempts to manipulate Thornton by pretending to be indigent. Her goal is to persuade him to call off the lawsuit, showcasing her calculated efforts to exploit his sympathy for personal gain.
One notable strength of the film lies in its satirical recreation of silent movies, with Webb embodying the exaggerated heroics of Bruce Blair. These scenes offer a glimpse of humor and creativity, standing out amidst the film's shortcomings.
The climactic trial, in which Sayre wins a court case despite not holding rights to the films, further strains credibility. The judge's ruling based on altered films and their impact on Sayre's reputation lacks a solid foundation within the established narrative.
The film's conclusion includes sour notes, such as the dismissal of Sayre from his school after rebuffing unwanted advances from President Matilda Coffey (Elsa Lanchester). This subplot, attempting humor through inappropriate behavior, feels out of place and outdated.
The subplot involving Carol's romantic relationship and her father's objection also lacks clear resolution, making the reconciliation seem abrupt and unsatisfying.
Despite Webb's polished performance as the erudite professor, and Rogers' attempt at a pushy role, the film's premise hampers its comedic potential. "Dreamboat" struggles to deliver the punch expected from a comedy due to its implausible and disjointed narrative elements.