The credits say this was based on a play by Aurania Rouverol, but it was the success of MGM’s 1936 version of Ah, Wilderness that prompted the studio to initiate this slice of small town Americana. Many of the same cast re-appeared and the studio were rewarded with a big success, so much so it lead to a rash of sequels.
Lionel Barrymore, a favourite of Louis B Mayer, plays the all wise Judge Hardy. He has a wife (Spring Byington), a spinster sister-in-law and two daughters. But the film is stolen by Mickey Rooney as his teenage son, Andy. Rooney fairly bounces off the scene, his energy and verve was perfect for the role – wisecracking, leaping up stairs two at a time. He starts the movie not liking girls, although that soon changes when he meets Polly Benedict (not played by Anne Rutherford).
It deals with a serious issue – the judge is under massive pressure to not grant an injunction preventing construction of an aqueduct. So much so that the people who want the aqueduct are threatening to run against him. It matter-of-factly describes the corruption of the time – newspapers changing their tune at the whim of their owner, political machines arranging to oppose Hardy, commercial pressure on judges, the man who applies for the original injunction is bribed and tries to bribe Judge Hardy, political powers try to blackmail him with perjured witnesses.
There’s a subplot about the Hardy’s married eldest daughter Joan, who has had an affair (Production Code style – she had dinner in a private room and was kissed). Joan is whiny and melodramatic, with a mannish voice who indicates all of the place. She never appeared in any other films and good riddance. (The Chuck Cunningham of the Hardy family series) More fun is bright and bubbling Marian, who has a sweet romance with an engineer. Mother Hardy is always worried about dinner and bursting into tears. Sara Haden hangs around like a lesbian.
But the most effective moments are the little everyday ones – meeting your girlfriend’s parents, going out on a date, sweet romancing. Hardy is surprisingly tolerant of his kids – when his eldest daughter tells him about her marriage troubles he doesn’t blow his top, he doesn’t seem to mind when his other daughter kisses her beau on the front steps. He can even talk to his eldest daughter about suicide. He’s a lot nicer than the townspeople of Carvel, who are really mean and nasty to the Judge when their crappy little aqueduct doesn’t go ahead. I wouldn’t blame the Judge for wanting to leave. The judge agrees his eldest daughter’s realisation that “a marriage depends on a woman” – but at least he adds that it’s unfair. He also comments that “all parents want for their children is some peace and security and as much happiness as the traffic will bear” – that’s not a silly thing at all.
The film even explores some religious differences - the Hardies are Congregationalists and Mum is a little worried Marians boyfriend is a Presbyterian. (Normally Hollywood steered away from this sort of stuff). There is also a fine, barnstorming Capra-esque finale with Judge Hardy taking on a mob at a political hearing. I enjoyed this a lot.
No comments:
Post a Comment