Young at Heart (1954) User Reviews

I saw this remake before the original...

[AlsExGal · 7/10 · 5 August 2012]

... and as a result, through the years, I've just remembered it fondly. This film is a remake of 1938's Four Daughters which had Priscilla Lane in Doris Day's part and John Garfield in Frank Sinatra's part as the morose pessimistic musician who believes if not for bad luck he'd have none at all. This one has not been televised in years because the elements are apparently in shabby shape and need restoration. MAJOR SPOILERS AHEAD. The film follows the plot of "Four Daughters" pretty closely, with Laurie (Doris Day) eloping with melancholy Barney Sloan (Frank Sinatra) in order to clear the way so that the man she really loved and was planning to marry (Gig Young as Alex) might fall in love with older sister Amy. Laurie decides to do this after she realizes Amy is in love with Alex.

These attempts at manipulations of the heart seldom work out well, and such is the case here. Instead, Amy starts to see her long-time beau - who has always loved her - as the man for her precisely because of the way he takes charge of the chaos at the wedding after it has been discovered that Laurie has eloped with someone other than the intended groom. Thus Amy becomes engaged to her boyfriend, Alex is left unattached, Laurie is unhappy and trying to make the best of a bad situation, and her actual new husband Barnie is left feeling more like a failure than ever because he just knows he was second best plus now he feels like his bad luck is being imposed on his wife as well as himself.

Where Young at Heart truly splits from Four Daughters is the ending. Barnie attempts suicide just like in Four Daughters, but Amy brings him back from the brink of death by telling him she really loves him plus one other secret which I'll leave as a surprise if you ever get a chance to see this movie. Another odd departure - there are only three daughters in this film, not four as in the original.

"Fairy Tales Can Come True, It Can Happen To You, If You're Young At Heart..............."

[bkoganbing · 8/10 · 30 October 2006]

Although it is only heard sung by Frank Sinatra at the beginning and end credits of Young At Heart, the title song was both a big hit for Frank Sinatra and set the tone for a very warm and wonderful Yuletide picture.

Warner Brothers already had this property, this is a remake of Four Daughters, minus a daughter, with Sinatra and Doris Day in the roles originated by John Garfield and Priscilla Lane. Doris's sisters are Dorothy Malone and Elizabeth Fraser who are all the daughters of music professor Robert Keith and all play instruments. The only non-musical member of their household is wise old maiden aunt, Ethel Barrymore.

Of course Doris sings as well. But in the passing out of vocal material, Sinatra did a lot better than she did. None of her songs did anything for her vocal career. Sinatra wisely opted for standards by some of the very best. In his role as saloon singer/piano player/music arranger Frank gets to sing Just One of Those Things by Cole Porter, Someone to Watch Over Me by the brothers Gershwin and One For My Baby by Harold Arlen and Johnny Mercer. Can't get much more talented in the song department than that group.

One For My Baby was introduced by Fred Astaire in The Sky's the Limit, but when Sinatra sang it here it became forever identified with him and a staple item at all of his live performances.

Sinatra and Day sang a duet You My Love at the finale. It was the song that Frank was working on through out the film. They sang it so well that you'd never know that tempers flared the entire time the film was made.

During the Forties when both were at Columbia Records, Frank and Doris recorded a couple of duets together. In the interim, Sinatra moved on to Capitol records so no original cast album could be made from this soundtrack. It might not have happened anyway because back in the Forties Day spoke highly of Frank. Things cooled considerably between the two of them, among the items of contention was Day's husband Martin Melcher. Suffice it to say it was not a happy set.

Still and all Young at Heart is one of the best films either of the stars did and really nice entertainment.

Very sweet

[jazzturtle · 8/10 · 14 March 2005]

I'd forgotten how much i loved this film until i watched it yesterday. I remember watching it a lot years ago but it isn't the sort of film that sticks out as being mind-blowing. Nevertheless it's still a really good one to watch when you don't want anything too heavy. There are some nice floaty songs, a few teary scenes and overall a nice mix of everything a good film needs, without anything harsh thrown in.

Frank Sinatra and Doris Day are totally believable throughout and compliment each other perfectly. The cast as a whole works very well, the characters are all complex and not over-the-top or dull. In short, it is a perfectly likable film.

"I'm The Girl Who Brought Chintz Curtains Into Your Life!"

[stryker-5 · 8 January 2000]

The three adult daughters of a Connecticut music teacher are anxious to encounter love and marriage. Each of them gets to the altar, but fate deals them some strange experiences along the way.

Laurie, Amy and Fran (Doris Day, Elisabeth Fraser and Dorothy Malone, respectively) choose men of widely contrasting personalities. Laurie plumps for Alex (Gig Young), the tall, handsome extrovert with musical ability. Fran settles for Bob, the dependable realtor (Alan Hale). If Amy's choice is a surprising one, it is ultimately vindicated by events. Then, of course, there is the surprise elopement ...

"Homes like these are the backbone of the nation," wisecracks Barney, the sarcastic interloper. His working-class Italian American sense of irony soon clashes with Laurie's blonde bourgeois rectitude. Barney describes himself as a 'stumblebum', and the part of the sharp-tongued loser is ideal for nighclub-singing, self-despising Frank Sinatra. "Pressed pants are constitutional in Connecticut," explains Laurie as she endeavours to reform the world-weary Barney, but Barney will never fit comfortably into Connecticut's refined social setting.

Songs are what the film is all about. No fewer than two songwriters attach themselves to the musical Tuttle girls, and the action is frequently punctuated by singing. Sinatra and Day even get to promote their latest Hit Parade offerings. The title song is deservedly famous, and Frankie does two excellent torch songs - the first in classic Sinatra mode, alone in a bar with an upright piano and a hat on the back of his head for a rueful rendition of Porter's "Just One Of Those Things", the other a night club crooning of the one and only "Set 'Em Up Joe".

The film has a great look. Shot by Director of Photography Ted McCord in a sumptuously rich Warnercolor, the images are pleasing to the eye. The 'puppy' scene which introduces Laurie to Alex is especially attractive. It seems always to have been a term of La Day's contracts that she must get to wear pretty clothes, and here the effect is sensational as she flounces past a blue house in a radiant orange New Look dress.

The set of the Tuttles' suburban avenue is breath-taking. A 'real' street with gardens and picket fences was constructed on Warners' back lot, and we see it transforming as the seasons turn. The location scene, the clam-bake on the beach, is one of the film's best-looking passages.

Though this is merely a popular musical, there are none the less some touches of artistic flair. As the theme song and the credits come to a close, Gregory Tuttle 'lifts' the tune from the titles and into the action by playing it on his flute in the living-room. Barney remains outside the circle of birthday well-wishers, showing us that this easy domestic affection is alien to him. The significance of Alex not being able to tie his knot is a nice little comment on what is about to unfold. Throughout the Christmas banter between Alex and the Tuttle clan, we see nothing of the action, because the camera remains doggedly fixed on the detached Barney, his reaction being the only one that matters to us.

There are few quibbles, and they are only minor ones. The pianist who doubles for Sinatra sits in a bolt-upright posture, totally unlike the Sinatra Slouch. Laurie's behaviour towards Alex is appalling, and unworthy of a romantic heroine. Consequently, the 'forgiveness' scene doesn't ring true. The method employed by Barney to solve everyone's problems, and its actual result, are utterly unbelievable.

Verdict - A homely, attractive musical with some outlandish plot elements.

Frank & Doris never ignite as a screen couple...

[moonspinner55 · 6/10 · 30 October 2006]

Unconvincing musical drama, a remake of 1938's "Four Daughters", has bright, cheery Doris Day picking brooding Frank Sinatra for a suitor over bright and cheery Gig Young. She's hoping to cure Sinatra of his demons, of course, and isn't true love the best medicine after all? A corny, artificial outing, although one mounted with classy studio-style and featuring pleasant supporting characters and chipper family chit-chat. Still, Sinatra's dour mood and Young's attraction to Day (over one of her sisters, whose tender emotions are never quite dealt with) leaves one unsatisfied. It's certainly a well-scrubbed, family-oriented diversion, but the all melodrama the screenplay brings up seems wrong-headed, and sour Sinatra never fits in with this sunny family and he never clicks with Day. **1/2 from ****

YOUNG AT HEART (Gordon Douglas, 1954) ***

[Bunuel1976 · 7/10 · 17 May 2008]

A musicalization of a classic “woman’s picture” is about as unappetizing a prospect as can get for me film-wise, but the polished Hollywood expertise here wins out in the end and makes for a refreshing and appealing movie that I had long underestimated (it was shown several times on Italian TV but I never bothered with it).

Doris Day and, especially, Frank Sinatra are well-matched as star-crossed lovers in small-town America; Day comes from a classically-trained musical family headed by Robert Keith and including Dorothy Malone (with spinster aunt Ethel Barrymore watching maternally from the sidelines). Amiable popular music composer Gig Young bursts in on their quiet, happy family life (all the girls naturally fall for his charms) but this is further exacerbated by the belated introduction of his arranger pal, embittered long-time loser Frank Sinatra. The film’s narrative is largely made up of the romantic entanglements of the trio of girls (two of whom are engaged to local guys but pine for Young) while Day is longed for by Young but is immediately drawn to outsider Sinatra. Robert Keith is really no match for Claude Rains – who had played the father in Michael Curtiz’s original FOUR DAUGHTERS (1938) – but Sinatra does manage to make John Garfield’s star-making, Oscar-nominated turn his own.

Curiously enough, the screenwriters of YOUNG AT HEART – Julius J. Epstein and Lenore Coffee – were the very same duo who had earlier adapted FOUR DAUGHTERS to the screen; however, as is already apparent, the original movie had four daughters instead of three, the character names were also altered and the remake was even given a schmaltzy, happy ending! Naturally, both Day and Sinatra get to sing in the film but they only have a modest duo of sorts at the very end; incidentally, I was let down by the finale not just because of its improbable “all’s well that ends well” qualities but also because, after Sinatra is seen toiling at his magnum opus throughout the whole movie, the result is just a corny love song! At the very least, I was expecting the classic title tune to be it (which he does get to sing over the opening credits). Incidentally, he seems to have had a good working relationship with director Gordon Douglas – since they would reteam three more times in the next 14 years.

Pleasant viewing

[nicholas.rhodes · 7/10 · 21 August 2006]

I like the actors and the songs, corresponds to my type of film. The scenario is a little weak and I was hoping for a little more emotion but as I have purchased the DVD I will be able to watch it over several times to be able to appreciate it fully. Picture and sound quality are excellent and I just adore the 1950's decors which are so much nicer than those of today. Also, the values portrayed in the film, extremely laudable, have been lost in today's world. Romantic films nowadays are few and far between and the few that exist are generally overdosed with sex which spoils the story ..... indeed it is far more exciting to IMAGINE than ACTUALLY SEE what happens sexually so to speak. I have always liked Frank Sinatra and Doris Day both for their musical and acting qualities !

Sinatra and Day show some great chemistry—why didn't they ever reteam?

[BrianDanaCamp · 6/10 · 22 February 2010]

At the time they made this movie, Frank Sinatra and Doris Day were both on the cusp of filling out the iconic images they'd become in a few short years and show remarkable chemistry as (potentially...seemingly?) ill-fated lovers in a picture-postcard Connecticut town who get married and move to a tenement in Manhattan. It's too bad they didn't make another film together. YOUNG AT HEART (1954) is an oddball family drama, incredibly downbeat in parts, with an ending that's 180 degrees away from the one in FOUR DAUGHTERS (1938) which, like this film, was adapted from Fannie Hurst's novel, "Sister Act." (Sinatra plays the part John Garfield played in the earlier film.) Except for a beach scene, it was all shot entirely on Warner Bros. soundstages and backlots.

Sinatra and Day sing a lot but don't duet till the end. Sinatra sings more than Day and gets better songs, including some Gershwin and Cole Porter standards. Sinatra's solos are quintessential Sinatra. It's just him sitting at the piano, with his hat on, playing and singing to his heart's content, usually in a shabby club just before closing. Musically, it rarely gets better than this. I wish there'd been more of these numbers. The strange but colorful supporting cast includes Ethel Barrymore, Gig Young, Robert Keith (Brian's dad), Dorothy Malone, Lonny Chapman, and pre-Skipper Alan Hale Jr. These actors are all fine, but I would have preferred to see the two stars in something that wasn't cluttered with so many other people.

This was only the second film Sinatra made after his incredible Oscar-winning comeback in FROM HERE TO ETERNITY (1953). (In the interim, he'd played a presidential assassin—part of a hit team working for a high-level conspiracy—in SUDDENLY, 1954.) Sinatra's still a notably skinny guy here and looks much younger than his 38 years. He plays a talented musician who doesn't believe he has a chance at success. He mopes a lot and browbeats himself and resents others' success and always has a cigarette dangling from his lips. Plus, he keeps his hat on in the house. Doris almost weds Gig Young but dumps him at the last minute for his much needier friend, Sinatra. She tries to change the grumpy Sinatra, to make him happier. Good luck. Why didn't these stars ever reteam? Especially late in life, guided by a master director at the top of his game. What a film that would have made.

YOUNG AT HEART's director, Gordon Douglas, went on to direct Sinatra in four films in the 1960s, including two of the star's best, ROBIN AND THE SEVEN HOODS (1964) and THE DETECTIVE (1968).

A Dose of Reality, Fifties Style

[matty_w · 10/10 · 7 September 2001]

Barney Sloan (Frank Sinatra) is a gifted musician who grew up orphaned and cynically resigned himself to "the fates". He quietly falls in love with kindhearted, upbeat Laurie Tuttle (Doris Day) who lives in a small town with her cheery family (father, aunt and two sisters). She is often perceptive about him, and very moved by his emotional outpourings through his music. Nonetheless, she misses the message behind Barney's shy kiss. She accepts Alex Burke's (Gig Young) marriage proposal, although she questions if Burke "needs" her and asks why they can't "keep things as they are." Discovering her sister's feelings for Alex is a turning point in Laurie's decision making. What part did her love for Barney play in her choice? Apparently, this is the question consuming Barney. He is often preoccupied with his own insecurities, and makes a destructive decision.

Sinatra's singing is beautiful ("Someone to Watch Over Me"). His portrayal is heartfelt. His chemistry with Day grows with their characters' relationship. "One for My Baby" and "You, My Love" are wonderful. In the latter, note how Barney is happy but still shy. This is a very moving romantic drama with a fine cast. I can relate to Barney, having a relative who grew up alone in the Depression. Thumbs up for the ending;

An okay remake of an okay movie.

[planktonrules · 7/10 · 21 May 2013]

"Young at Heart" is a reworking of the 1938 film "Four Daughters", though in the process one of the daughters was inexplicably lost and so there are only three in this remake. Plus, this time it is more of a musical. Both are quite pleasant films but not a lot more.

The film begins with a musical family--a father (Robert Keith), an aunt (Ethel Barrymore) and three daughters (Doris Day, Dorothy Malone and Elisabeth Fraser). They are quite happy but now that the daughters have grown, love and marriage are bringing change. Gig Young plays the sort of role you'd expect for Ralph Bellamy--the nice guy who ends up, inexplicably, losing the girl. Just like in the first film, it's really not clear WHY Doris Day's character would jilt Young for Frank Sinatra's character since he isn't particularly likable. Still, despite this central relationship and the chemistry not working, the film does make up for this, a bit, with very nice songs. Day is very good but Sinatra's theme song is among his very best, so it's hard to hate the film. However, don't be surprised at the very end of the film--it was NOT the same ending from "Four Daughters" as apparently Sinatra hated this ending and insisted it be changed. Worth seeing but not especially memorable except for the title song...now THAT is terrific.

for Sinatra fans only

[jimakros · 5/10 · 8 January 2005]

Both Doris Day and Frank Sinatra sing in this movie,but it's a better show for Sinatra.So for Sinatra fans this movie is a must. The story is completely unrealistic and ridiculous.The main character is Doris,who is her usual intelligent and likable movie persona.She falls in love with Gig Young's character who is intelligent and pleasant and are going to be married.Then,on her wedding day she finds out that her sister loves her husband-to-be and this seems good enough reason for her not only to cancel the marriage but not even show up and even more,to run away with her husband's business partner.Now if Doris Day decided not to marry someone,would she do it in such a distasteful manner?Maybe some women would but not the Doris Day America loved. I guess in those days audiences would believe that any woman- even Doris Day-would behave in such a despicable way to be with Sinatra.It doesn't make Doris's character in the movie any more sympathetic. The character of Gig Young is totally unbelievable too,one would expect him to at least never see Doris again after that.Instead he shows up again and behaves like nothing happened. Also,Doris Day and Frank Sinatra seem to be from different universe and never for an instant register as a couple.Sinatra is okay in this difficult obnoxious character but he just doesn't fit with Day's character.

Like a lovely memory

[cocteauaddict · 8/10 · 28 October 2003]

This is not a classic film. It won't be on any "Best Of" Lists. It is simply a wonderful film that you can enjoy when you want to see a good movie. I keep returning to this one, because it provides pure, unadulterated enjoyment. It is glossy entertainment, and unabashedly romantic. A perfect rainy afternoon movie.

Young at Heart

[jboothmillard · 6/10 · 18 January 2007]

This isn't meant to be a musical (there's certainly no dance routines), it is a drama featuring some songs. Basically Alex Burke (Gig Young) enters the lives of the Tuttle family, led by father Gregory (Robert Keith) with his three daughters Fran (Dorothy Malone), Amy (Elisabeth Fraser), and Laurie (Doris Day). Laurie and Alex seem to be made for each other, and become engaged, but things change when his friend, musical arranger Barney Sloan (Frank Sinatra) comes along. Laurie realises she has grown to have stronger feelings for Barney, and she also realises the mistake she would be making when she sees one of her sister's crying about the marriage, she loves Alex. So Laurie marries Barney, but he is convinced that his wife may still have feelings for Alex, and towards the end attempts suicide, and this is the night Laurie would announce she is pregnant, thank goodness there is a happy ending when all the family are together. Also starring Ethel Barrymore as Aunt Jessie Tuttle, Alan Hale Jr. as Robert Neary, Lonny Chapman as Ernest Nichols and Frank Ferguson as Bartell. Day offers a warm and sensitive performance with some great singing (they call her the Warner Brothers goldmine), Sinatra (also worked at Columbia records with Day) has his moments, even though he said he hated the soppy plot. You can almost agree with Sinatra concerning the ending, but you can't see it going any other way, so this is certainly a film to try and enjoy for songs, including one or two Day and Sinatra duets. Good!

With two singers as the leads, it could have been better

[HotToastyRag · 5/10 · 15 September 2017]

Doris Day and her two sisters all fall for composer Gig Young in Young at Heart. However, even though his last name is featured in the title, Gig Young isn't the male lead. Doris wins out over her sisters, and she and Gig become engaged. In walks Frank Sinatra. He's Gig's musical arranger, and when he visits the family to help with some music, he clashes with Doris. She's sunshine and daisies; he's a dark raincloud. They bicker and banter as he tries to impart his cynical wisdom and she tries to brighten his outlook. I think you can guess what happens next.

Ethel Barrymore, Dorothy Malone, and Robert Keith make up the adult family chaperones—would you leave your three daughters alone in the house with two strange men?—and a variety of composers contribute to the songs Frankie and Doris sing, although not every one was written for the film. "One for My Baby (And One More for the Road)", "Someone to Watch Over Me", "Just One of Those Things", and of course the title song, are performed in the movie. While some scenes are cute, I found an equal number of scenes to be depressing. In real life, we've all found it tempting to try and cheer up a perpetually grumpy person, but in a movie, it's a little tiring. Yes, it's Frank Sinatra so we want to forgive him, but who really wants to see Doris "Ms. Sunshine" Day struggle so much to make him smile?

Sinatra at his very best

[rothwellstudios · 12 April 2000]

This film features Sinatra relishing some great songs and some fine dialogue which suits him perfectly. The scene where he sings "Someone to Watch Over Me" at the cafe piano is quite unforgettable. This is a very re-watchable movie with a fine cast - Doris Day, Gig Young, Ethel Barrymore, Brian Keith etc.

The standard songs are joined by some new ones written for the production - and they too are a total delight. A fine example of 1950s Americana as seen by Hollywood.

For the romantic ...

[innamorata22 · 7/10 · 28 July 2000]

Young at Heart is a good title for this particular film. I couldn't help thinking towards the end of the film that Alex should have married Laurie. The character of Barney Sloan was too self-pitying - if he were a more stronger type (positive) with much more humour, I would have been more inclined to say he was the right guy. I even felt that maybe Laurie did regret her marriage to Barney. I was happy to see Barney pull through from the operation at the end knowing that there was still hope in love. A very good story line nonetheless, nice costumes and set, also good song performances from both Frank Sinatra and Doris Day.

This proves it. Only fools fall in love.

[helpless_dancer · 7/10 · 16 July 2001]

I really enjoyed this film, but it was way big lame and unrealistic. Would a man jilted at the alter take the rejection as well as Alex Burke did? Plus, didn't these 3 daughters strike you as a tad mature to still be living at home waiting for hubbies? I will say that Frank Snotra played the part of the down trodden, self pitying loser to perfection and he and Doris Day warbled wonderfully. This perfect little family with their pat lives and troubles, coupled with the smaltzy ending, made for a very predictable picture.

Tasteful musical remake of "Four Daughters"...

[Doylenf · 6/10 · 27 January 2008]

FRANK SINATRA followed up his "From Here To Eternity" triumph by starring opposite DORIS DAY in a musical remake of "Four Daughters" called YOUNG AT HEART. He gets even better song material than Day, including memorable versions of "Young at Heart" and "One for My Baby", but Day is compensated by a nice dramatic role that gets her brand of warmth and sincerity, as well as a duet with Sinatra on "You, My Love".

ETHEL BARRYMORE is the elderly aunt and ROBERT KEITH is the father, while GIG YOUNG plays the young man that Day almost marries until she discovers that her sister is broken-hearted over their upcoming marriage. Instead, she runs off with the loner, Barny (Sinatra), and has a rather tumultuous marriage that she's determined to salvage. This version of the tale has her succeed, avoiding the downbeat ending of the original in which the John Garfield character (played by Sinatra)died.

It's pleasant, nostalgic and the kind of musical they never make any more. Particularly sensitive performances from Sinatra, Day and Gig Young under Gordon Douglas' direction. Worth seeing for fans of Day and Sinatra especially.

The only big difference between this and the original is that color and music have been added. Otherwise, the script is pretty close to the 1938 version directed by Michael Curtiz.

It Has Its Moments

[daoldiges · 6/10 · 30 June 2022]

Young at Heart starts off on the wrong foot in that the three main female leads (all very attractive and bright) will marry just about anyone who will ask them, and then proceed to boast about it. It does take on some weight as the story progresses, with the Sinatra character bringing some darker elements. The relationship between Day & Sinatra makes sense analytically (he's depressed and always down/she's the eternal optimist want to to save hime) but I'm not feeling a ton of chemistry between then, although I didn't feel any chemistry between Day & Young either. The film does look good though and the music is pleasant enough. If you're a Sinatra or Day fan then you will want to check this one out. It's not all bad fare for anyone else either.

Another excellent film by Gordon Douglas

[miltonb1 · 8/10 · 25 February 2003]

Once again Gordon Douglas deals with characters faced with moral dilemmas. In this case the three sisters and their infatuation with Gig Young, Doris Day's commitment to Frank Sinatra, and Sinatra's decision. From the opening scene of the neighborhood in which they live to the very end this movie is much more then it seems. Within the artificial look of the sets,there's no hiding the many themes that meander throughout this somewhat dark (musical?). For those who don't get it, take another look. These characters are far deeper then the picture perfect world they live in might make you believe.

Young at Heart marked the only time Doris Day and Frank Sinatra appeared on film together

[tavm · 7/10 · 8 September 2020]

Before reviewing the movie proper, I'll just mention that the YouTube upload I watched of this was off-sync after the first 30 or so minutes. So much so, my mom was very confused at the narrative but I managed to figure out what was going to happen about 30 seconds or more ahead of time. This was the only time popular singers Frank Sinatra and Doris Day teamed up for a movie and it's pretty entertaining if not quite as great if it could have been. I mean, Sinatra doesn't appear until about 30 or so minutes have passed and when he does, he's not quite the happy-go-lucky fella he was previously in other movies, instead he's quite depressed because of his character's attitude. Ms. Day, in contrast, is quite the opposite considering the family she lives with. I know this was a remake of a straight drama called Four Daughters and that the fate of the character Sinatra plays here was different when he was played by John Garfield. I'll reserve actual judgement until I see FD and perhaps watch this again, hopefully with a more perfect print than the one I just watched. While Sinatra sang some standards, Ms. Day sings some new songs. I'll just now say that despite those technical flaws I just mentioned, I enjoyed Young at Heart. I think my mom did as well despite her confusion...

Bad Remake, Made Worse By a Revised Ending

[krdement · 3/10 · 19 May 2008]

The songs, including a couple of Sinatra's best, are easily the best part of this movie. But the rest is nearly unwatchable compared with the original, "Four Daughters."

John Garfield delivered a performance in "Four Daughters" that made him an overnight sensation - and deservedly so. His Mickey is a complex character that Garfield absolutely nails with a superbly nuanced performance. Mickey is a pessimist, but he is no brooder. He mucks through life as a rather detached cynic. But his brand of cynicism is not really bitter. Mickey is more resigned than bitter. His persona is the result of circumstances, NOT his innate character. That is what makes his character sympathetic.

By contrast, Sinatra carries the weight of the world on his shoulders. He is very self absorbed and bitter. He has none of the devil-may-care insouciance of Garfield. While Garfield evokes sympathy, SInatra evokes pity (at best). There is the possibility that Garfield's character could actually fit into the Tuttle family, given a change of luck. But Sinatra's never will; indeed, he never does. Even while tinkling the ivories in the new happy ending, he still seems like a self- absorbed brooder. His persona is the result of his character not his circumstances. So, when his circumstances improve, his persona is unchanged. The happy ending is a terrible contrivance, but it would have worked much better with Garfield's Mickey than with Sinatra's.

Nor did I ever once feel any chemistry between Frank Sinatra and Doris Day that convinced me they truly were a loving couple who I wanted to cheer for. But I did feel that way about John Garfield and Priscilla Lane. There was never such a huge contrast in personality between Garfield and Lane as there was between Sinatra and Day. And I sensed much more chemistry between Garfield and Lane than between Sinatra and Day. The possibilities that seem to be in reach for Garfield and Lane are what makes Mickey's death so tragic. I never sensed those possibilities for Sinatra and Day. Sinatra's death would not have been nearly as tragic. Nor does his survival seem to offer the promise of fulfillment of those possibilities. The gulf between Sinatra's character and Day's character is huge. No mere change of circumstances can change that.

In sum, I didn't dislike the Mickey portrayed by Garfield; I didn't like the Mickey portrayed by Sinatra.

Finally, the Gig Young character in this remake is absolutely superfluous to the new story. Why even bother with him? Just have Sinatra be the guy who comes to stay with the Tuttles in the first place.

Seems Two Into One DOES Go

[writers_reign · 9/10 · 14 January 2006]

In musical terms this is, in many ways, two separate films; in one we have Doris Day singing the kind of sunny, feel-good songs she was recording successfully at that time - the mid fifties - and in the second we have Sinatra singing songs for Adults - with one exception 'standards' - as only he can. The story itself is, of course, our old friend the catalyst or what happens when an outsider is obliged by circumstances to join, usually temporarily, an existing social fabric and test its tolerance. In some ways this is a remarkably accurate musical version of Fannie Hurst's old potboiler 'Four Daughters' which back in 1938 introduced John Garfield to Hollywood. Fresh from the Group Theatre and weaned on Clifford Odets' machine-gun vitriolic dialogue Garfield had much the same impact on Hollywood and moviegoers as his character did on the all-American family headed by Claude Rains. For the remake Warners dropped one of the daughters, switched the locale to New England and turned Sinatra loose on father Robert Keith, aunt Ethel Barrymore and sisters Doris Day, Elisabeth Fraser and Dorothy Malone. If you watch Four Daughters immediately before Young At Heart you will hear that much of the dialogue - especially that originally spoken by Garfield - has been retained. Okay, it's a meller through and through but all hands are on the top of their game and Sinatra has seldom sung better on screen. The fact that he doesn't appear for a good half hour merely adds to the feeling of two separate films because we've had that half hour to adjust to the 'homeliness' of the Tuttles and Doris Day has laid most of her 'cute' songs on us so that the whole effect is to lull us into cosy expectation of a 'nice' movie and then Sinatra explodes into the frame and hijacks the movie. This is one to see again and again.

Longtime favorite musical

[pwahl · 7/10 · 27 November 2004]

This has been a longtime favorite musical of mine, although there are some flaws in this movie, most notably the ending. (spoilers)

Those who think this is just the typical glossy Hollywood story are, I think, missing the point. The movie opens on an obvious set of an idealized small town neighborhood, complete with picket fence. But the story is in fact somewhat dark, with each of the three sisters falling for the same guy (Gig Young), while two of them are dating somewhat unexciting men, one a plumber, one a bit of a blowhard business man. As an added twist on the usual cheery Hollywood romance, the main male romantic lead is himself rather glib and shallow.

The music is excellent, this is the movie that turned me into a Frank Sinatra fan, in particular the scene where he sings "One for my Baby" in the noisy bar. Someone to Watch Over Me is also excellent, and Doris Day has some nice numbers.

As I said the ending leaves much to be desired, comes out of nowhere really, it seems to me that a scene or two tying things up may have been left out of the final version, or perhaps they just didn't know how to end the movie. I believe Frank Sinatra insisted they change the ending, perhaps that is the problem. Anyway, a fine musical with enough strengths to overcome the ending.

Strong Musical Contrasts, Subtle Character Development Make this one of the Best 50's Musicals and the TWO CAKES

[pmullinsj · 19 May 2004]

(spoilers included)

For about half an hour, there are parlour songs and clambake songs with the whole family around and these are sung by Doris Day (as Laurie.) These are somewhat loud (as Doris Day usually is a bit) but not too loud (as she is sometimes, as in THE PAJAMA GAME, when a strident sound is produced). However, even this would have been hard to take much longer.

During this early part of the film Alex (Gig Young) appears as the son of an old friend of Day's father (Robert Keith). He makes himself well-liked, which may have to do with a milieu I am no longer a part of, because it is beyond me why the 3 girls (Day, Dorothy Malone, and Elisabeth Fraser) find him so charming: He is loud, pushy, obnoxious and even overtly inconsiderate. He's gonna write a MUSICAL...wow...

Almost as suddenly (Barney Sloan) Frank Sinatra appears as Alex's arranger and this opens up a fantastically dark new mood immediately. If you didn't know something about the film or story before hand, you would never have thought all that sugar-coated artifice of the first half hour would be toned down to the point that it is almost like one of Rothko's paintings, like "White Over Red" maybe. Sinatra even looks very sleazy and literally half-starved (as the character is supposed to be) when he is inside this house that stops just short of Hansel and Gretel.

This is what separates this musical from the other fluffy things Doris Day made during the first part of her career, before the non-musical fluff took over. Of course, it had the advantage of a real story to base itself on--by Fanny Hurst.

Barney's "bad attitude" is Day's missionary material. He sees himself as a hard-luck guy, a loser, second banana to Alex. His self-pitying attitude is actually refreshing here, albeit it may not be helping the character in his own life.

In the cafe where he plays, while living in Connecticut to work for Alex, he does 3 standards--"Someone to Watch Over Me," "Just One of Those Things," and "One for My Baby, and One More for the Road."

Well, Gershwin, Porter and Arlen never had it so good--these are definitive performances of songs all the big singers did.

The last is the great moment of the picture, when toward the end of the song (and after a quarrel with Laurie about keeping Alex's old bracelet), she appears in the club and sits down enjoying his extraordinary singing of the Arlen. When she appears, a change comes over his face, and the whole atmosphere of the melancholy song changes as she exposes her wrists to let him know that she is no longer thinking of Alex--she has gotten rid of the bracelet.

Alex's lack of consideration is overt twice: when he and Laurie decide to get married, he insists upon announcing it at her father's birthday party that night--but she asks him to please not do so, to let it be her father's night, to let him be the center of attention. Even after agreeing to this, as the party ends he pushes again and goes ahead and announces it. This is a most agreeable family, and they take almost everything in stride, so they barely notice.

The second time is more severe. Near the very end, before Barney's accident, Alex is alone with him in the car and offers him some money--this is mainly to show off his own success, which assuages his wounded ego that he did not win Laurie's hand in marriage. Barney refuses it, but when Alex is leaving on the train, Alex literally shoves the money on Barney and tells him to spend it on Laurie.

This actually causes Barney's immediate depression and makes him so suicical that his auto accident is not precisely an accident, as is clearly seen.

Earlier, at the family Christmas Eve gathering, Laurie had even told Alex that she was going to have Barney's baby before telling Barney himself. This prompted Alex to tell her almost literally that Barney was not worthy of her; her face does at least register the rudeness of this remark.

Also, Amy (Elisabeth Fraser) had been in love with Alex and somehow it never worked out for them even after Laurie was out of the way. She may well have found him out for what he really was in the interim.

So that, when we finally see the whole gathering of friends and family together again after Barney's recovery, Alex has finally been excluded: Not a word about his "villainy" has ever been expressed; it has been merely understood.

Sinatra and Day sing together only once at the very end--and both were in marvelous voice throughout this picture. The way the new songs and the old standards were so casually integrated within the plot is most unique and satisfying. And the whole picture is framed with Sinatra's fine rendition of the title song.

The cake at the birthday party for Mr. Tuttle interested me, for purely subjective reasons. I had just re-watched PICNIC a few days before, and in the opening scene, when Bill Holden is approaching Mrs. Potts (Verna Felton) to ask her for a little work, she holds out a freshly baked coconut cake that she will bring to the picnic to Millie (Susan Strasberg) and says "Oh, Millie, doesn't it make your mouth water?" And this cake IS almost palpable, you immediately want some of it. The cake in YOUNG AT HEART is not nearly so alive--it may have been prepared by Aunt Jessie (Ethel Barrymore) but it still looks "bought." These 2 films were made within a few years of each other. If YOUNG AT HEART does not quite reach the poetics of PICNIC, it is nevertheless also one of the finest examples of 50's Americana, and I highly recommend it as a great film musical.