Yours, Mine and Ours (1968)

Every Sperm Is Sacred

***This Review Contains Spoilers***

Frank Beardsley’s (Henry Fonda) opening narration tells of how his children feel he neglected his wife and their mother; an interesting parallel to real life in which Fonda told his wife Frances Ford Seymour in 1949 he wanted a divorce so he could remarry after an unhappy 13 year marriage; a confession which drove her to suicide. Not to mention Fonda was a man who was “emotionally distant” to his children starring in a movie like Yours, Mine and Ours, but being the great actor he is, never is he out of place.

Yours, Mine and Ours doesn’t have a massive amount of substance but has just enough to keep it afloat. It’s not the most advanced comic material for the likes of Lucille Ball but she makes the most of it. Apparently, Fonda became deeply in love with Ball during filming and the two became very close; always a benefit to the on-screen chemistry. Likewise, sex references still manage to slip into a family film (“He’ll bring me home in plenty of time for dessert”). The cinematography is also surprisingly advanced for a movie of this kind such as seen in the very opening shot of the film in which the camera pans back from a close up of Fonda to a battleship in its entirety. Likewise, there are plenty of effective shots of San Francisco.

The old-fashioned family ideals in Yours, Mine and Ours were not in tune with a changing America of the time. The film was originally to be made in the early 60’s but was delayed due to various setbacks but the fashions present here are clearly of the late 60’s. With the film’s inclusion of battleships and planes, the movie clearly has US Navy endorsement and I can see this pro-military aspect of the film not going down well during the days of the Vietnam War. Likewise, at the end of the film the eldest son Michael Beardsley joining the armed forces; so I guess that’s off to Nam! This is the aspect of Yours, Mine and Ours which I find the most interesting; it’s a film which the product of before it’s time, clinging onto bygone values. For example, the movie has Van Johnson in a supporting role whom I’ve always pictured as being an archetypal 50’s actor. But more importantly Frank Beardsley can’t be a stay at home father, he’s clearly a man’s man as evident from his high ranking position in the navy.

Stage Door (1937)

The Women

Stage Door is very much the poverty row version of MGM’s The Women. It features only one big box office star, another who had become box office poison and a supporting cast who would later go on to play notable prominent roles in later films (Lucille Ball, Ann Miller, Eve Arden).

Ginger Rogers and Katharine Hepburn where the two big rivals at RKO pictures with Rodger’s career on the up and Hepburn’s career on the down yet you can feel their mutual respect for each other as the film progresses (in the fictional realm at least). Stage Door follows a group of actresses living in a drab theatrical boarding house trying to make it in the world of show business. Right of the bat the movie is emotionally investing as the cast of street smarts constantly spew one-liners and witty remarks in an effort to try and deal with their lack of success amidst the depression-ridden 30’s; the film succeeds in evoking both laughter and sadness simultaneously with its barrage of highly relatable human emotion – The lightning-fast dialogue alone makes Stage Door worthy of multiple viewings.

Supposedly the filming of Stage Door began without a completed script resulting in much of the film’s dialogue being improvised. The interactions between the female cast feels real; the acting present in the movie doesn’t feel like acting, almost like I’m getting a voyeuristic insight into these character’s lives.  Likewise, the film even has an early appearance by Jack Carson as an over giddy lumberjack on an arranged date with Jean Maitland (Ginger Rogers); always a great screen presence no matter how brief his appearance is. I find Stage Door a one of a kind film; it has a raw quality, one that can’t be created intentionally making it a rare treat in many respects. The cast and dialogue is just too good that I really become attached to these characters and almost wish the film could be a bit longer.

Katharine Hepburn’s Terry Randall is another instance of Hepburn playing the odd one out. I do love Terry Randall, she’s the one character in the boarding house of whom clearly comes from an upper-class background and she is only one who achieves stage success by landing the lead in a play despite her lack of acting experience. With her go-getter attitude, Terry is the embodiment of the individual as summed up in one line: “You talk as if the world owed you a living. Maybe if you tried to do something for the theatre, the theatre would do something for you”.  I get the impression Stage Door purports the idea that one who comes from a lower class background will find it harder to overcome these ties and find success. In one dialogue exchange Terry asks the other women “do you have to just sit around and do nothing about it?” and the character played by Lucille Ball replies “maybe it’s in the blood, my grandfather sat around until he was 80”. Terry is clearly more dedicated to her craft than the other woman in boarding house, discussing Shakespeare and other aspects of theatrical arts, while the other conformist woman poke fun and shun her for it. This does make me question what they are doing there in the first place; I guess they have just been beaten down by the system that bad. One thing Terry is not, however, is a snob. She doesn’t look down on the girls from a high and mighty position and even makes the effort to learn their slang. When I doubt I will ask myself, what would Terry Randall do?