Der Mann aus Philadelphia

... by not marrying his father in the first place. Let me explain.

Kate Judson (Diane Brewster) marries socialite Bill Lawrence (Adam West... yes THAT Adam West). Kate marries him because her mother wants the marriage into high society. But apparently, Bill is gay. The film comes as close to saying that as you could in 1959. He runs out of the honeymoon suite. Kate runs to the man she really loves, construction company owner Mike Flanagan (Brian Keith). When she returns home later that night she learns Bill has died in an accident. Nine months later a son is born. But the mother in law has PIs all over the place and tells Kate she knows this is not her grandson and offers to pay her off as long as she and the baby relinquish the Lawrence name. Kate refuses, because the Lawrence name will open doors for her son some day. She also refuses to marry the father whom she loves, because "people will talk" and possibly figure out his real parentage.

So the son grows up to be Paul Newman, Mike Flanagan overpays him to work at his flourishing construction business, and as he grows into manhood he is now rubbing elbows with some of the most insufferable snobs ever committed to celluloid. They lie. They cheat. They steal. They mess with him professionally and romantically. He tries to keep his honor, but they don't make it easy for him.

If Kate had married Mike in the beginning she would have had all of the money she ever needed because Mike was very successful, avoided both her and her son's suffering, and yes, those snobs would have had nothing to do with her family, but after watching this film that seems like a plus.

Billie Burke as a widow worth a billion dollars in today's money is hilarious. She ventures out on Christmas just to make sure her dog is mentioned in her will. Robert Vaughn is a standout as a blue blood friend of Newman's character who drinks heavily to deal with the hypocrisy of his relatives.

The Young Philadelphians is a curious mixture of Ross Hunter like soap opera together with a Tennessee Williams like hero and surprisingly enough it works most of the time.

Paul Newman is the hero whose very existence on the planet is a source of scandal. His mother Diane Brewster was disinherited by her husband's family when he killed himself on their wedding night. Newman's had to scrap for what's his in the world and isn't above using the bedroom to advance himself.

He's got a friend in Robert Vaughn who's also a black sheep in his Philadelphia Main Line family who gets himself in a jackpot when he's arrested for murdering his uncle. Newman, who's a tax lawyer, gets some on the job training in a criminal case, in defending Vaughn.

Like Katharine Hepburn in Suddenly Last Summer, characters like John Williams, Robert Douglas, and Frank Conroy seem above all to want to protect the family name. Hepburn was willing enough to have a lobotomy performed on Elizabeth Taylor and this crew seems ready willing and eager to send Vaughn to prison or the electric chair for the same reasons. Straight out of Tennessee Williams.

Newman shows some of the flash in his courtroom scenes, especially in his examination of Richard Deacon that he later showed in his Oscar nominated The Verdict which is my personal Paul Newman favorite. He trips Deacon the witness up with a piece of legal wizardry worthy of Perry Mason.

In the prologue of the film when the death of Adam West is shown on his wedding night to Diane Brewster the film is very discreet as to his reasons for doing what he did. It's explained this was a marriage arranged by his mother for the purpose of carrying on the family name even if it meant wedding a girl not from their crowd. He explains he has no interest in his wife and promptly goes out and dies in a speeding car crash. Today it would be far more explicit to say that maybe Adam West's character was gay. But we had the code in place back then and gay was invisible.

Robert Vaughn got an Oscar nomination for Best Supporting Actor and his harrowing scenes with Newman in the drunk tank got him that. He lost to Hugh Griffith for Ben-Hur, but it was the first real notice he got and the start of a long career. Look for good performances by Alexis Smith as the older woman Newman woos, Billie Burke as the daffy dowager, and Barbara Rush whose on and off relationship with Newman guides most of the film.

The Young Philadelphians is kind of old fashioned today, somewhat dated, but still is good entertainment and recommended here.

It has commonly been said that full-fledged soap opera can never be a real work of art, but this excellent film proves to be a glorious exception to that rule. Director Vincent Sherman's luminous film adaptation of author Richard Powell's best-seller THE PHILADELPHIANS manages to tell the story of at least two generations in a single picture without ever feeling cramped, forced, or haphazard. The film's story line that begins as a romance, evolves into an underdog business story, and ends as a courtroom drama, and Sherman impressively manages to take all of these various story threads and create a completely coherent motion picture that never feels disjointed or episodic. Sherman also keeps things movie at a remarkably brisk pace – the film never feels even half as long as it's 136-minute runtime.

The entire cast turns in superlative work, with Newman being particular well-suited to his role as a good-natured-but-flawed lawyer (he would return to this type of role with even better results in the 1982 classic THE VERDICT). Barbara Rush, Brian Keith, Dianne Brewster, Billie Burke, and Robert Vaughn are all excellent, and Alexis Smith is particularly memorable as sexy socialite. Speaking of sex, the film retains a surprisingly sensual aura throughout, which helps to keep it from aging for modern audiences. Inexplicably forgotten by many classic film fans, THE YOUNG PHILADELPHIANS is a moving, compelling motion picture that holds up remarkably well nearly fifty years after it's original release.

The Young Philadelphians had all the ingredients to become the most horrid American melodrama, in the worst 1950's style. Instead, it was cooked up to be one of the fine 1950's movies.

William Lawrence III (Adam West) was not, indeed could not be, the father of young Tony (Paul Newman). After William kills himself in a horrible car crash (suicide?), his Mother wants Kate (Diane Brewster) to give up the family name for her and her baby boy. Because she could reveal the reason for this horrid condition (Gasp! Is it possible that the marriage was not consummated because William the third could only "do it" with boys?), Kate secures the Lawrence name, if not the Lawrence money, to give Anthony a chance in Philadelphia society. Can you see the most awful melodrama developing?

Well, it turns out that further developments provide us with a balanced mix of humor, cynicism, drama, real emotions. This movie shows first rate acting and directing, and superb black and white photography. It gives us a glimpse of what appeared to be a pretty gruesome society scene. Apart from the unlikely happy end (I'm not giving too much away by saying this about an American movie of the 1950's), this is an interesting incursion in the period, with a healthy dose of social realism. As a bonus, we get to see Paul Newman out of his shirt in a steamy scene with a frustrated woman married with Newman's much older boss, a delightful Billy Burke in one of her last screen appearances, a tortured Adam West trying to deal with... (Oh! no, I can't say it), and a whole cast of believable, if not overly subtle, characters. We even get a bit of courtroom drama, à la Perry Mason.

This is an excellent way to spend a lazy Sunday afternoon...

Building a Hollywood resume as outstanding as he did, actor Paul Newman selected roles which in one way or another tapped his enormous talent. This movie is a prime example of that legendary persona. The Film is called " The Young Philadelphians " and is the story of Anthony Judson Lawrence (Paul Newman) who is born into an upper social class family. Although raised as an up and coming Laurence, his mother Kate (Diane Brewster) and father (Brian Keith) keep from him a dark family secret which involved his biological father (Adam West). Having graduated from a prestigious Ivy league school, believes he can contribute to his family name. However ambitious he is, there are several outside influences which seek to bar his success. There is a young lady (Joan Dickinson) whom he wishes to marry, but who's father (John Williams) is against it. Then there are the In-laws who believe Lawrence's mother is a disgrace by fathering an illegitimate child. In addition, there are faltering friends like Chester Gwynn (Robert Vaughn) who calls on him when charged with murder. Then there are influential millionaire friends like Mrs. J. Arthur Allen (Billie Burke) who is impressed with Lawrence's ability to succeed when put in real jeopardy. This happens when he is chosen as defense counsel for his friend Chester in a real life drama which endangers his family, his friends and himself if he should fail. All in all, this is one film not to be missed by fans of Paul Newman. The end result is another milestone and a definite Classic for his career. ****