Nunca es tarde

This is among my favorite "little movies"--movies that were small budget and about everyday people with everyday problems. The lead is played by the crotchety but very erudite Monty Woolley. Monty is forced to retire from his job as a printer due to his age, even though he still feels young and vigorous. Everyone around him seems to agree that retirement shouldn't be forced upon you if you are still able and willing to work, but no one in this large company where he works seems to be able to anything about this rule--especially since the company is actually controlled by a huge corporation. They just keep saying it's company policy and they would change it if they could--maybe he should talk the the guy in charge to get the rule changed someone suggests. Unfortunately, no one seems to know exactly who that is or how to find him. Out of sheer frustration, he hatches a plot to impersonate the company's CEO and make the changes himself! Unfortunately, this relatively simple plan snowballs and lots of unforeseen problems arise.

This is a brisk, cute movie that it sure to please. The acting is superb (I just love Woolley in films), the story well written and the film leaves you smiling.

PS--Get Marilyn Monroe OFF the Video Cover!!! She's barely in the movie at all--if you expect her, expect to be disappointed. Stupid advertising folks!

Though released on DVD as part of Fox's "Marilyn Monroe Collection", her role – playing the spirited, though obviously dumb, secretary at a printing factory headed by Albert Dekker – is actually very brief. The film is an amusing, Capraesque comedy about 65 year-old printer Monty Woolley who refuses to accept the age imposition which sends him into retirement. The plot involves him impersonating the President of the corporation which owns the factory, paying them an unexpected visit and making a speech in which he retracts the current policy – thus enabling Woolley the printer to get back his job! Complications arise when David Wayne (fiancé of Woolley's niece Jean Peters), who also works at the factory, recognizes him – but also with the attentions given Woolley by Dekker's neglected wife Constance Bennett. The film features a solid supporting cast which includes Allyn Joslyn (as Woolley's son), Thelma Ritter (as his wife, who's proud of her Brooklyn origins), Clinton Sundberg (as Wayne's ambitious colleague at the plant who could blow Woolley's cover at any moment), Minor Watson (as the real President of the conglomerate) and a young Russ Tamblyn (playing Dekker and Bennett's confused son). It's a pleasant enough diversion – adapted by Lamar Trotti from a Paddy Chayefsky(!) story – given Fox's typically polished (if fluffy) treatment.

This film was indeed a mildly amusing comedy and one's acceptance of it will depend on one's affection for Monty Wooley. But I was fascinated by the credits. It's part of the feel-good type of movies of the early 1950s. The story is by a young Paddy Chakevsky, who would later write Marty, A Catered Affair, The Goddess, The Americanization of Emily, Hospital, Network, and Altered States, and the screenplay is by Lamar Trotti, who wrote the screenplays for John Ford's Young Mr. Lincoln and Drums Along the Mohawk, for Ox Bow Incident, and won the screenplay Oscar for Wilson in 1944. A lot of talent in a thimble. It might be interesting to compare this screenplay to their other works for similarities. Chakevsky's work later became sharp and hard and even bitter. But his Marty, Catered Affair, and maybe even this show a gentle, humorous side. Trotti would die the next year, so this is one of his last screenplays

Monty Woolley believes you're as "Young as You Feel" in this 1951 film also starring Thelma Ritter, David Wayne, Jean Peters, Allyn Joslyn, Russ Tamblyn, Albert Dekker, Constance Bennett and Marilyn Monroe.

Woolley plays John Hodges, who at the age of 65, is fired from his job in a printing company due to corporate policy that no one can work past 65. Many baby boomers wish that were the case today, because in fact, they'll be working way past 65. He finds out that the company he works for is a subsidiary of a huge company that is owned by a huge corporation. Finding out the name of the President of that huge corporation, he dies his hair and whiskers and poses as the man, comes to town, tours the plant, and makes a speech in which he declares that the knowledge of our elders is critical in printing, and changes the policy.

And there the fun begins. The boss' wife (Constance Bennett), feeling unloved by her husband (Dekker), falls for Hodges; his granddaughter's boyfriend (Wayne) recognizes him and tells someone else at the plant; and the corporation doesn't know what to do. This fake president has raised their stock and given them a fabulous profile, so much so that the labor union has settled their grievances with them. How can they call his bluff? I seem to have enjoyed this film more than some of the other posters. Thelma Ritter, as John's daughter-in-law, is a scream. An ex-singer who gave up her career to marry George (Joslyn), John's son, sings "Temptation" while in the kitchen - she's hilarious. Woolley is great as an older man not ready to be put out to pasture, and it's wonderful to see one of the great stars of the '30s, Constance Bennett, in a later role.

This film is remembered today as early Marilyn Monroe. She plays the boss' sexy secretary, and she does a wonderful job. It's a small role, but you can definitely see that she, Peters, who plays the granddaughter, and David Wayne are all getting the star buildup and are each at different stages of it. Monroe was just about to break through, and she and Wayne would appear together in "How to Marry a Millionaire" (where he says, "I already think you're quite a strudel.") Entertaining and definitely worth seeing.

Monty Woolley's film career has not had as much discussion as it deserves. The one time head of Yale University's Drama Department, and close personal friend (possibly lover) of Cole Porter, had been involved in Broadway for many years. He was, for example, in the original cast of the Rodgers and Hart Musical ON YOUR TOES, as the Russian Ballet impresario who sings TOO GOOD FOR THE AVERAGE MAN. He also made many film appearances in the 1930s, including the irascible, but eventually dumbfounded French judge in Mitchell Leisin's MIDNIGHT. But his fame would come when he was starred in the original production of THE MAN WHO CAME TO DINNER, and subsequently was lucky enough to repeat his performance in the film version. Other film starring parts were his as well, such as THE PIED PIPER, and his pair of films co-starring Gracie Fields, HOLY MATRIMONY and MOLLY AND ME. But more frequently he ended up in supporting parts (even in THE MAN WHO CAME TO DINNER it was Bette Davis who was given the starring position in the credits!). More typical of his later films was MISS TATLOCK'S MILLIONS, where he and Dan Tobin were two greedy uncles of "Schuyler Tatlock" (John Lund). A better (deeper) part was the Latin Scholar in THE BISHOP'S WIFE, who is going to write the greatest history of Rome since Edward Gibbon.

The problem, for Woolley, was age. To an extent, in the early 1940s, he was able to still play grouchy sorts who were not too old (say about 50). But as the 1940s went forward, Woolley's age became a handicap. It was harder and harder to find material for him where he was the star.

Without a doubt his last starring role was as John Hodges, the 65 year old printer who is forced by a company policy to retire while he is still mentally and physically vigorous. Few films from Hollywood had tackled the issue of aging. The best known one was Leo McCarey's MAKE WAY FOR TOMORROW, with Victor Moore and Beulah Bondi, which remains a heartbreakingly sad film. But that was made in 1935. Except for an occasional comment about aging in a film (like Berton Churchill's comment to John Carridine not to heed his white hairs if he is hesitant to challenge Churchill to a fight in STAGECOACH), most of the movies ignored aging. Even before the 1960s and President Kennedy's pushing a cult of youth and vigor, Hollywood was pretty much doing the same thing.

So this is why AS YOUNG AS YOU FEEL is such an unusual film. Besides Woolley getting one of the best parts of his career, it tackled a relatively taboo subject. Why talk about the inevitable that nobody likes to think about - aging and weakening...and eventually death. It's a downer in terms of a theme for a film (as McCarey's movie had brilliantly shown). But in point of fact AS YOUNG AS YOU FEEL is the reverse side of the coin.

Woolley is forced to retire from his firm, and is angry about it. Then, by chance, he is able to temporarily take over the media and town's attention when he is mistaken for the multi-millionaire (Minor Watson) who has taken over the factory that retired Wooley. Being an intelligent man, his opinions get huge publicity and sweep the nation. Woolley stresses that the chronicle age of the individual does not mean that he or she is to be put out to pasture, if he or she is capable of functioning and contributing to society. Soon Woolley finds he is in demand everywhere due to his spunky philosophy. Watson, of course, is amazed at the error, but does not stop it - he finds that it is enhancing his own public image (after all, the media and the public think Woolley is Watson).

At the same time, Woolley finds the masquerade is getting out of hand in many ways. It is playing havoc with his grandson (David Wayne's) career. It is also playing havoc with the family life of the manager of the factory (Albert Dekker and his wife Constance Bennett). So caught up in the American dream of making a success of himself for his family, Dekker has distanced himself from his wife and son. Then Woolley shows up, and Bennett decides she wants to divorce her stodgy husband Decker for that lively old wire Woolley!

It was a nicely written role (by Paddy Chayefsky)and Woolley did very well in it. Ironically, despite the philosophical point of view in the film, the studio system ignored the message. Woolley never had another great lead part after this film. His last memorable part was as an elderly adviser to the young Persian Monarch in the musical KISMET - not a really big part that.

Ironically too, the film was one of a long string of early films that Marilyn Monroe appeared in from 1949 (from LOVE HAPPY) to 1952 (the Cary Grant - Ginger Rogers MONKEY BUSINESS). Monroe did well in most of these roles, and they gave her exposure, but even in the meatiest ones (CLASH BY NIGHT) she did not "star" in them. Yet Marilyn's name means so much to this day in film lore to the public, these early films are usually sold in "Marilyn Monroe" collections. The ever youthful, ever too fragile Marilyn remains a Hollywood icon forty - four years after her death in 1962. Monty Wooley died in 1963, but I doubt that a hundredth of the people who adore the memory of Marilyn ever think seriously about Monty and his best performances.