At breakfast, Jane announces that she and Ralph are getting married the next week. All Jane and Ralph want is a small wedding with the immediate family and no reception, because Jane's ...
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Spinster poetess Susan Grieve lives in a Manhattan apartment where naval hero Slick Novak comes with her for a nightcap. Next morning they visit her Connecticut farm where Novak tells her ... See full summary »
Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge, and predictable complications result.
At breakfast, Jane announces that she and Ralph are getting married the next week. All Jane and Ralph want is a small wedding with the immediate family and no reception, because Jane's parents are poor and Jane and Ralph can borrow a car for their honeymoon. But at dinner that night, all Ralph's parents talk about are the big weddings they gave their daughters, and everything escalates. Suddenly it's a big wedding breakfast with hundreds of guests. The problem is that for 12 years, Tom has been saving money to buy his own cab and license, but now that he can, all of that money is going towards a wedding that neither he nor Jane nor Ralph really want.Written by
Tony Fontana <email@example.com>
An unjustly neglected "kitchen sink" movie from the fifties, with fine performances by all and intriguing New York locations.
Bette Davis and Ernest Borgnine portray the very much working-class parents of a young woman who is about to get married, and just wants a quick ceremony with no reception. But the mother, guilty about "not giving her daughter anything" over the years, pushes for an expensive "catered affair" that her husband cannot afford, and would use money he planned to devote to buying a taxicab license.
Davis' brassy performance has received the most attention, but Borgnine's subtle, nuanced portrayal of the father is what really sustains this movie. Barry Fitzgerald provides comic relief as a "oirish" uncle. Altogether a charming and touching film that is very much a slice of life of NYC in the fifties. Like the other Chayefsky scripts of this era, it explores themes that would have been unpalatable or mawkish for any other writer.
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