"Cheaper By the Dozen", based on the real-life story of the Gilbreth family, follows them from Providence, Rhode Island to Montclair, New Jersey, and details the amusing anecdotes found in ...
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A plucky little orphan girl gets dumped abruptly into her gruff, hermit grandfather's care, then later gets retaken and delivered as a companion for an injured girl.
Director:
Allan Dwan
Stars:
Shirley Temple,
Jean Hersholt,
Arthur Treacher
Marjorie Winfield's engagement to Bill Sherman, who has just arrived home from fighting in World War I, serves as the backdrop for the trials and tribulations of her family.
Calamity Jane is despatched to find out who's smuggling rifles to the Indians, and winds up married to a hapless correspondence school dentist as part of her cover.
Wealthy Edward Morgan becomes charmed with a curly-haired orphan and her pretty older sister Mary and arranges to adopt both under the alias of "Mr. Jones." As he spends more time with them, he soon finds himself falling in love with Mary.
Director:
Irving Cummings
Stars:
Shirley Temple,
John Boles,
Rochelle Hudson
Two high-spirited young students at St. Francis Academy For Girls keep things hopping for the challenged Mother Superior (Rosalind Russell) and her staff of bewildered Sisters.
"Cheaper By the Dozen", based on the real-life story of the Gilbreth family, follows them from Providence, Rhode Island to Montclair, New Jersey, and details the amusing anecdotes found in large families. Frank Gilbreth, Sr., was a pioneer in the field of motion study, and often used his family as guinea pigs (with amusing and sometimes embarrassing results). He resisted popular culture,railing against his daughters' desires for bobbed hair and cosmetics.Written by
Becki Bozart <beckeye@aone.com>
The big house the family moves to in Montclair is the same house set originally built for Judy Garland's family in Meet Me in St. Louis (1944). Fox didn't have an appropriate standing outdoor set so they rented time on the "St. Louis Street" on MGM lot #2. See more »
Goofs
As the camera zooms in during the tonsillectomy, you can see the shadow of the camera on the back of one of the nurses' white coats. See more »
Quotes
Frank Gilbreth:
[while escorting Ann out of the house on her first date]
I know its not your fault Lilly, but things would have been a whole lot easier if you'd taken my advice and had all boys.
Mrs. Lillian Gilbreth:
I'm sorry, dear. I'll try to be more careful with the next dozen.
See more »
Crazy Credits
Opening credits prologue: This is the true story of an American family. See more »
Clifton Webb is a joy in this delightful film, based on a true story, of an eccentric genius and his twelve children. The color is gorgeous, and the interior design of the family's New Jersey home ought to have won an Oscar. Myrna Loy is solid as Webb's patient, loving wife, and Jeanne Crain energetic as his spunky daughter. There isn't much story here, as events unfold naturally, as they do in life, and one isn't always sure where the film is going. Early twentieth century America is captured in all its overstuffed, art nouveau-ish glory, as the film's plot, irregular, often going off on odd tangents, perfectly mimics that style of design so popular at the time. The movie is really about the end of an era, as we see the very tail end of the Gilded Age turning into the roaring twenties, and with it the death of the old paternalism, at times stiff, occasionally charming, perfectly embodied by Mr. Webb; and there is an awesome sadness at the film's conclusion, as we see a man and his era pass into history.
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Clifton Webb is a joy in this delightful film, based on a true story, of an eccentric genius and his twelve children. The color is gorgeous, and the interior design of the family's New Jersey home ought to have won an Oscar. Myrna Loy is solid as Webb's patient, loving wife, and Jeanne Crain energetic as his spunky daughter. There isn't much story here, as events unfold naturally, as they do in life, and one isn't always sure where the film is going. Early twentieth century America is captured in all its overstuffed, art nouveau-ish glory, as the film's plot, irregular, often going off on odd tangents, perfectly mimics that style of design so popular at the time. The movie is really about the end of an era, as we see the very tail end of the Gilded Age turning into the roaring twenties, and with it the death of the old paternalism, at times stiff, occasionally charming, perfectly embodied by Mr. Webb; and there is an awesome sadness at the film's conclusion, as we see a man and his era pass into history.