Von Katzen und Katern

Plot--A top-notch law student is courted by a powerful legal firm. Trouble is the budding legal eagle gets silly drunk on just a taste of alcohol. Of course, that creates problems in the boozy world of formal dinners. And, oh yes, something about a Chinese man losing his apartment because of discrimination gets dropped in.

I was curious. The production has two of MGM's brightest young stars, Taylor and Johnson, yet I'd never heard of the movie. Now I know why. It can't make up its mind what it is— comedy, social conscience, drama. Okay, some movies manage to combine the three into a luminous package, like The Apartment (1960). But that film benefited from the versatile Jack Lemmon in the lead. Now Van Johnson could do light comedy, especially with engaging dialog. And that's the trouble here. In a difficult role that calls for traversing from bibulous one-liners to sober righteousness he looks dour throughout, turning many of his sudden inebriated moments from humor to confusion. I'm not sure what the cause was, but the results look like miscasting. Trouble is that his is the central role, and thusly the movie as a whole is compromised.

Not that the script is any help, especially the fancy dinner scene that's almost painful in its misplaced humor. Then too, the pregnant premise—getting drunk on a mere whiff of alcohol —is a tricky one that might work in a different context, but not here. Anyway, Taylor's gorgeous, while about every middle-aged actor in Hollywood picks up a payday. But whatever impresario Krasna was reaching for just doesn't come off. Good thing both stars went on to bigger and better things.

Van Johnson and Elizabeth Taylor did two films together during their tenure at MGM and The Big Hangover is the first of them. He's a young law school graduate, top of his particular class, who is applying for an opening in a very prestigious white shoe law firm. She's the daughter of the firm's senior partner Percy Waram and she's crushing out big time on Van.

Van's got one unusual case of shell shock during the war. Two things happened to him, he had a close friend die in his arms in a plane being shot at with anti-aircraft guns and he nearly drowned in a cellar of a monastery that was being used as a hospital. The monks in the place made wine and after spending a good deal of time up to his neck in the stuff, the slightest taste or smell of liquor gets him cockeyed drunk.

It's an amusing bit for parties, but not at all social or business occasions. Liz turns amateur psychologist to discover what's ailing Van.

The Big Hangover is an amusing comedy from MGM, not hardly in the top ten of films for either of its leads. It does have an interesting subplot involving discrimination and the enforcement of anti-discrimination laws that were being passed by a lot of states at this time, New York among them where the story takes place. A Chinese doctor, Philip Ahn, is being thrown out of an apartment the owner is represented by Percy Waram's firm.

Which leads to the highlight of the film and the best performance in the film by Leon Ames who plays the city attorney who is charged with enforcement of the non-discrimination statute. After Johnson chastises him, Ames gives an eloquent statement about how money and success are the gods we cherish.

The Big Hangover is amusing in spots, is serious in spots, has a bit of trouble making its mind up whether it's a comedy or a drama of social significance. Still it is entertaining and fans of the two stars should like it.

This Big Hangover gives the audience a big hangover. There are several problems with this film.

First, with a title like "The Big Hangover" you would normally think that this is a comedy. There are no big laughs.

Next, the Hair of the Dog is significant because there is a talking dog in the movie. Once again, no laughs.

Next, in 1950 Van Johnson was 35 years old, and Elizabeth Taylor was 17.

Next, while always beautiful, Liz Taylor at 17 is completely unconvincing as an adult psychologist.

Finally, the concept of PTSD was not yet recognized in 1950. Obviously, many WW II veterans were suffering from PTSD and this movie does not take that seriously. If you want to see a good movie about WW II PTSD watch "The Best Years of Our Lives."

Mary Belney (Elizabeth Taylor) is the daughter of top lawyer John Belney (Percy Waram). David Muldon (Van Johnson) is a top law student being recruited by Belney's firm. He's hiding the fact that he's highly allergic to alcohol. Mary notices his strange behavior after barely a sip. He tells her about the incident during the war. He tries to acclimatize to alcohol by taking sips at home which results in him hallucinating and talking to his dog. Amateur psychiatrist Mary tries to treat him.

This is an oddball convoluted premise. They should go all-out with a silly Dr. Dolittle character. He should have full conversations with the animals. There is potential to do something truly outrageous and memorable. Instead, it goes for the least interesting and boring path. Mary is actually trying to cure him and he's not that funny as a drunk. There isn't much chemistry more than a semi-professional basis and a singing one. None of it is that funny.

Van Johnson portrays a young World War II veteran who, upon joining a prominent law firm, attempts to avoid scandal stemming from his allergy to alcohol. He forms an alliance with the daughter of the firm's leader, played by Elizabeth Taylor, and their romance is light hearted and moderated with realism. Ensemble playing from the talented cast is top-drawer throughout, with excellent timing ever in evidence. A shadowy sub-plot dealing with racial prejudice (victims: Chinese) is not overdone and is necessary for developing the film's principal theme: the inherent value of performing public service. Playwright Norman Krasna, who wrote, produced and directed this understated comedic drama, keeps matters moving briskly, while allowing scenes to develop properly by emphasizing the sharp dialogue, some of which is startling with its insight. There is good acting aplenty, by the mentioned leads as well as by Leon Ames and Edgar Buchanan; but the honors must go to the veteran English stage performer, Percy Waram, whose delivery is perfection.