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Tag Archives: Irving Reis

All My Sons (March 27, 1948)

All My Sons was not Arthur Miller’s first play, but it was his first success, and the work that put him in the public eye. He won a Tony Award for best author and the play’s director, Elia Kazan, won the Tony for best direction of a play. All My Sons ran on Broadway, at the Coronet Theatre, from January to November 1947 for a total of 328 performances. It starred Ed Begley, Beth Miller, Arthur Kennedy, and Karl Malden.

Irving Reis’s film version premiered in New York on March 27, 1948, and went into wide release in April.

All My Sons stars Edward G. Robinson as Joe Keller, the owner of a factory that made airplane parts during World War II. His partner and former next-door neighbor, Herbert Deever, went to prison for shipping faulty cylinder heads.

The defective parts caused the deaths of 21 airmen, but Joe Keller was exonerated of any wrongdoing in court. (In the original play, Keller’s partner is called “Steve Deever,” and he never appears on stage. In the film, Herbert Deever is played by Frank Conroy in a dark and emotionally wrenching scene in which one of the main characters goes to visit him in prison.)

Joe Keller’s son Larry’s plane went down in the Pacific during the war. Larry was declared MIA, but Joe’s wife Kate (Mady Christians) refuses to believe her son is dead, and keeps everything in Larry’s bedroom the same as the day he shipped out. All his suits are hanging in the closet and all his shoes are shined.

When the film begins, Joe and Kate’s other son, Chris (Burt Lancaster), who also served in World War II, is attempting to mend fences with Ann Deever (Louisa Horton), the girl he wants to marry. Ann and Chris love each other, but several obstacles stand between them. Not only is she the daughter of Joe Keller’s disgraced and imprisoned former partner, but she used to be Larry’s girl, and Chris won’t be able to get his parents’ blessing while his mother still holds out hope that Larry is alive somewhere. “You marry that girl and you’re pronouncing him dead,” Joe Keller shouts at Chris. “You’ve no right to do that!”

I find Robinson an odd choice, physically at least, to play Lancaster’s father. He’s about the right age — 20 years older than Lancaster — but the two men couldn’t look more different. Aside from this quibble, however, Robinson is perfectly cast. His bluster and bonhomie cover up a deep well of guilt that slowly, over the course of the film, bubbles to the surface.

Movies based on plays can suffer from a sense of artificiality, but All My Sons is a perfect example of how to adapt a play for the screen. While the dialogue is pretty heavy on exposition for the first reel, it never feels stagey or bound to a single location. Small changes like the addition of Herbert Deever as a speaking character help make the film work as a cinematic experience, and Russell Metty’s dark, atmospheric cinematography and Leith Stevens’s effective musical score really tie everything together.

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The Bachelor and the Bobby-Soxer (Sept. 1, 1947)

The Bachelor and the Bobby-Soxer was the surprise winner of the Oscar for best original screenplay at the 20th Academy Awards in 1948, beating out the scripts for more “serious” fare like Body and Soul, A Double Life, Monsieur Verdoux, and Sciuscià (Shoeshine).

But just because its win was surprising doesn’t mean it didn’t deserve to win. The Bachelor and the Bobby-Soxer is a very funny film. It’s a latter-day screwball comedy about a handsome artist who is forced — by court order, no less — to date a teenage girl.

Sidney Sheldon’s screenplay treats those jumpin’ and jivin’ post-war kids with affection rather than bemusement or contempt, and he has a keen understanding of the ways teenagers try to act like adults, and how they unwittingly fail.

The dialogue might not be a completely accurate evocation of the way real bobby-soxers and their jalopy-driving boyfriends actually talked (did any kid before this movie came out actually say that they felt “sklonklish”?), but the characterizations all feel right.

Former child star Shirley Temple — all grown up (sort of) — plays the bobby-soxer of the title, a 17-year-old high school student named Susan who lives with her older sister. Her older sister just happens to be a judge, and when the film begins, the Honorable Margaret Turner (Myrna Loy) is presiding over a case involving a kerfuffle at a nightclub between a couple of brassy gals over the affections of charming artist Richard Nugent (Cary Grant).

Margaret and Susan’s parents are dead, so Margaret is as much of a mother to Susan as she is a big sister. After the initial courtroom scene, the stage is set for the sparks of disapproval to fly as soon as Margaret learns that the object of her little sister’s affection is the same Lothario she saw in court.

Most of the humor in The Bachelor and the Bobby-Soxer comes from the fact that Richard has absolutely no desire to be with Susan, but is ordered by the court, under the recommendation of a psychologist, to take her out on dates so his mature-man forbidden fruit will sooner wither and die, and she’ll go back to her sweet, somewhat dumb high school boyfriend, Jerry (Johnny Sands).

Susan is mature for her age, but she’s still a 17-year-old. Watching Cary Grant suffer through taking her to Sunset High School basketball games and dates at the ice cream shop are some of the funniest bits I’ve seen in a long time.

Cary Grant — no stranger to screwball comedies — has an arch, deadpan comic style that’s perfectly suited to the material. Temple is really great in this movie, too. Like Deanna Durbin, she was an impossibly cute child star who blossomed into an engaging adult performer without missing a beat. And Myrna Loy is wonderful to watch, as always. It doesn’t matter that she was old enough to be Temple’s mother when she made this movie. She barely looks a decade older, and she matches Cary Grant beat for beat in all their scenes together.

The Bachelor and the Bobby-Soxer is a great comedy that stands the test of time.