B.F.'s Daughter

Probably one of the worst scripts ever given to Stanwyck, who shines like only she can despite the severe shortcomings of the dialogue. Maybe she saw something in it that she liked - plays like your average soap opera.

John Marquand didn't deserve to have his novel turned into this film, which was probably a vehicle for its star, Barbara Stanwyck. Mr. Marquand was a writer whose books were popular and some of them endured the passing of time.

It appears that MGM asked screen writer Luther Davis to transform the novel into something that the book was not. Under the direction of Robert Z. Leonard, one gets the impression this was a movie to show us how a woman in love can throw away all the comforts and perks of her wealthy life for a man that could not make a decent living to keep her in style.

It doesn't make sense that Tom sweeps Polly off her feet by their first encounter in that "divine" little bistro in the Village, circa 1940s. Polly in furs and Tom in rags, give me a break! It would be laughable with today's audiences.

Barbara Stanwyck and Van Hefiln, by the magic of the celluloid never age; if anything they get better looking. Ms. Stanwyck was a marvelous actress with the right material, but in here, she is bogged down by a the mediocrity of the writing. Ms. Stanwyck and Mr. Heflin worked together to better results in two other films. This film has to be viewed as curiosity piece that never made it big.

Richard Hart was perfect as the stuffy Bob, the fiancee that is left behind when he can't cut the mustard. Charles Coburn also appeared in other films in which Barbara Stanwych shone, like "Lady Eve", and he is perfect as B.F. Fulton, Polly's father. He always played rich men. Margaret Lindsay has only a small part. Keenan Wynn is perfect as Marty Ainsley, Tom's friend.

On one positive note, the decor of the homes we see in the film is just "divine", to imitate what Apples would say, as are the costumes and the glossy look they gave the film.

Viewers will recognize Charles Coburn from Gentlemen Prefer Blonds & Monkey Business. Here he plays Burton Fulton, successful businessman, father to Polly (Barbara Stanwyck). Co-stars Van Heflin, Keenan Wynn, and Spring Byington round out the familiar faces in "BF's Daughter". Polly falls for Tom Brett (Heflin) and they talk about "eating in speak-easys" and "the depression", but this was made in 1948, and it sure looks like 1948 throughout. This was written by John Marquand, who had also written some of the Mr. Moto books. The film feels a lot like the Magnificent Ambersons, which had come out six years before -- story of a rich family, and how the offspring deals with changing times. Very serious storyline... the only humor is the ongoing joke of repeatedly calling one of the locals by the wrong name. When Polly tries to help Tom with his career, things don't work out as she wanted. Stanwyck also made "Sorry Wrong Number" right after this in 1948 - THAT role got her nominated for an Oscar... but not THIS one. The script needs some spicing up, or something. Everything and everyone is technically competent, but there's something lacking.

Glossy, slow-moving and inconsistent soap opera with heiress (Stanwyck) marrying college professor (Heflin), but they realize their true love for each other years later. Performances are good, except Heflin, who seems out of place. Also, the script is a mess, to say the least. *1/2 out of **** for this one.

Barbara Stanwyck is "B.F.'s Daughter" in this 1948 film, with Charles Coburn as B.F., Van Heflin, Keenan Wynn, and Spring Byington.

This film is based on a controversial novel with a different, more political emphasis and turned into a romantic soap opera by MGM.

Stanwyck plays Pauline, from a wealthy family, who is engaged to marry Bob Tasmin (Richard Hart), someone she's known for years. However, she meets a good-looking and interesting left-wing economy professor, author, and lecturer, Thomas Brett (Heflin) and falls in love with him. They get married right away and move to a cabin in Minnesota. Polly, or Paul as she is called, takes an allowance from her father with Tom's blessing - however, he's made it clear he's not interested in B.F.'s money or B.F.'s interest in his career.

Unbeknownst to him, Pauline uses her father's connections to get Tom started on the lecture circuit. He becomes very successful, and Pauline is determined to help him be a great man and furnishes a fabulous house in Connecticut - which he hates and announces that he won't be returning there. He becomes a big mucky-muck in Washington as war approaches. Meanwhile, Pauline sees her marriage falling apart.

One of the points of the book was that the common man was the true patriot and true American, and Marquand, the author, took the liberal approach of resentment toward the rich. Some of this is softened in the film, though it's obvious that B.F. and Tom come from very different places ideologically. In MGM's hands, this is a clash of ideologies that gets in the way of a marriage.

I found the performances terrific from everyone, but especially Stanwyck, who is lovely and sincere, and Heflin, a wonderful actor who left us too soon, and a fine leading man or character actor, whatever the role called for.

The story certainly held my interest, but I felt that the Heflin character was too rigid. It's a tougher world today in which to make a career than it was in the '40s, okay, and it's admirable to want to "make it on your own," but even with connections, if you can't cut the mustard, you won't have success. Obviously Tom was a talented man and good speaker and once he got started, did very well. There is nothing wrong with getting help at the bottom of the ladder - I took issue with this and found it naive. Also, knowing the relationship his wife had with her father, to disrespect him as he did in the party scene was wrong.

I think just about anything with Barbara Stanwyck in it is worth seeing, and I also feel that way about Van Heflin. And the supporting cast of Coburn, Byington, Wynn, and Margaret Lindsey are very good. The script is a little problematic, but the cast elevates it.