Siempre tú y yo

This is not a classic film. It won't be on any "Best Of" Lists. It is simply a wonderful film that you can enjoy when you want to see a good movie. I keep returning to this one, because it provides pure, unadulterated enjoyment. It is glossy entertainment, and unabashedly romantic. A perfect rainy afternoon movie.

I'd forgotten how much i loved this film until i watched it yesterday. I remember watching it a lot years ago but it isn't the sort of film that sticks out as being mind-blowing. Nevertheless it's still a really good one to watch when you don't want anything too heavy. There are some nice floaty songs, a few teary scenes and overall a nice mix of everything a good film needs, without anything harsh thrown in.

Frank Sinatra and Doris Day are totally believable throughout and compliment each other perfectly. The cast as a whole works very well, the characters are all complex and not over-the-top or dull. In short, it is a perfectly likable film.

Although it is only heard sung by Frank Sinatra at the beginning and end credits of Young At Heart, the title song was both a big hit for Frank Sinatra and set the tone for a very warm and wonderful Yuletide picture.

Warner Brothers already had this property, this is a remake of Four Daughters, minus a daughter, with Sinatra and Doris Day in the roles originated by John Garfield and Priscilla Lane. Doris's sisters are Dorothy Malone and Elizabeth Fraser who are all the daughters of music professor Robert Keith and all play instruments. The only non-musical member of their household is wise old maiden aunt, Ethel Barrymore.

Of course Doris sings as well. But in the passing out of vocal material, Sinatra did a lot better than she did. None of her songs did anything for her vocal career. Sinatra wisely opted for standards by some of the very best. In his role as saloon singer/piano player/music arranger Frank gets to sing Just One of Those Things by Cole Porter, Someone to Watch Over Me by the brothers Gershwin and One For My Baby by Harold Arlen and Johnny Mercer. Can't get much more talented in the song department than that group.

One For My Baby was introduced by Fred Astaire in The Sky's the Limit, but when Sinatra sang it here it became forever identified with him and a staple item at all of his live performances.

Sinatra and Day sang a duet You My Love at the finale. It was the song that Frank was working on through out the film. They sang it so well that you'd never know that tempers flared the entire time the film was made.

During the Forties when both were at Columbia Records, Frank and Doris recorded a couple of duets together. In the interim, Sinatra moved on to Capitol records so no original cast album could be made from this soundtrack. It might not have happened anyway because back in the Forties Day spoke highly of Frank. Things cooled considerably between the two of them, among the items of contention was Day's husband Martin Melcher. Suffice it to say it was not a happy set.

Still and all Young at Heart is one of the best films either of the stars did and really nice entertainment.

This film features Sinatra relishing some great songs and some fine dialogue which suits him perfectly. The scene where he sings "Someone to Watch Over Me" at the cafe piano is quite unforgettable. This is a very re-watchable movie with a fine cast - Doris Day, Gig Young, Ethel Barrymore, Brian Keith etc.

The standard songs are joined by some new ones written for the production - and they too are a total delight. A fine example of 1950s Americana as seen by Hollywood.

The three adult daughters of a Connecticut music teacher are anxious to encounter love and marriage. Each of them gets to the altar, but fate deals them some strange experiences along the way.

Laurie, Amy and Fran (Doris Day, Elisabeth Fraser and Dorothy Malone, respectively) choose men of widely contrasting personalities. Laurie plumps for Alex (Gig Young), the tall, handsome extrovert with musical ability. Fran settles for Bob, the dependable realtor (Alan Hale). If Amy's choice is a surprising one, it is ultimately vindicated by events. Then, of course, there is the surprise elopement ...

"Homes like these are the backbone of the nation," wisecracks Barney, the sarcastic interloper. His working-class Italian American sense of irony soon clashes with Laurie's blonde bourgeois rectitude. Barney describes himself as a 'stumblebum', and the part of the sharp-tongued loser is ideal for nighclub-singing, self-despising Frank Sinatra. "Pressed pants are constitutional in Connecticut," explains Laurie as she endeavours to reform the world-weary Barney, but Barney will never fit comfortably into Connecticut's refined social setting.

Songs are what the film is all about. No fewer than two songwriters attach themselves to the musical Tuttle girls, and the action is frequently punctuated by singing. Sinatra and Day even get to promote their latest Hit Parade offerings. The title song is deservedly famous, and Frankie does two excellent torch songs - the first in classic Sinatra mode, alone in a bar with an upright piano and a hat on the back of his head for a rueful rendition of Porter's "Just One Of Those Things", the other a night club crooning of the one and only "Set 'Em Up Joe".

The film has a great look. Shot by Director of Photography Ted McCord in a sumptuously rich Warnercolor, the images are pleasing to the eye. The 'puppy' scene which introduces Laurie to Alex is especially attractive. It seems always to have been a term of La Day's contracts that she must get to wear pretty clothes, and here the effect is sensational as she flounces past a blue house in a radiant orange New Look dress.

The set of the Tuttles' suburban avenue is breath-taking. A 'real' street with gardens and picket fences was constructed on Warners' back lot, and we see it transforming as the seasons turn. The location scene, the clam-bake on the beach, is one of the film's best-looking passages.

Though this is merely a popular musical, there are none the less some touches of artistic flair. As the theme song and the credits come to a close, Gregory Tuttle 'lifts' the tune from the titles and into the action by playing it on his flute in the living-room. Barney remains outside the circle of birthday well-wishers, showing us that this easy domestic affection is alien to him. The significance of Alex not being able to tie his knot is a nice little comment on what is about to unfold. Throughout the Christmas banter between Alex and the Tuttle clan, we see nothing of the action, because the camera remains doggedly fixed on the detached Barney, his reaction being the only one that matters to us.

There are few quibbles, and they are only minor ones. The pianist who doubles for Sinatra sits in a bolt-upright posture, totally unlike the Sinatra Slouch. Laurie's behaviour towards Alex is appalling, and unworthy of a romantic heroine. Consequently, the 'forgiveness' scene doesn't ring true. The method employed by Barney to solve everyone's problems, and its actual result, are utterly unbelievable.

Verdict - A homely, attractive musical with some outlandish plot elements.