La modelo y la casamentera

Middle-aged match-maker Thelma Ritter (as Mae Swasey) runs a bustling business in New York City, although many of her clients are not the most desirable marriage partners. Spinster-like Nancy Kulp (as Hazel Gingras) - who remained single throughout her run on the 1960s sitcom "The Beverly Hillbillies" - is an especially tough sell. Hoping to fix her up with optometrist Zero Mostel (as George Wixted), Ms. Ritter arranges a party for her prospects. While making the rounds, Ritter mistakenly swaps purses with beautiful model Jeanne Crain (as Christina "Kitty" Bennett). Ritter discovers the model is dating a married man and advises Crain to break up the affair. Feeling motherly, Ritter wants to match Crain up with handsome X-ray technician Scott Brady (as Matt Hornbeck)...

By 1951, character actress Thelma Ritter had become enough of a star to draw audiences on her own. Debuting at age 45 in 1947, the mature actress was named top female new star of the year 1951 by "Quigley Publications" - the organization which continues to rank box office stars every year. Ritter never did become a constant leading woman, but her name in a cast was always enough to indicate a film was high quality. Here, she may not receive top billing, but she certainly is the leading player. The story seems tailor-made for Ritter, by writer-producer Charles Brackett and director George Cukor. It's not their best effort, but Ritter gets good personnel - and shows she can carry the picture. Since she always lent stars great support, it's nice to see Ritter get a good supporting cast.

****** The Model and the Marriage Broker (12/30/51) George Cukor ~ Thelma Ritter, Jeanne Crain, Scott Brady, Zero Mostel

I agree with other comments about this being a little-known gem with a terrific cast and that it is a pleasure to see Thelma Ritter in a leading role. Cukor's direction is efficient and he's particularly good with long, unbroken takes which help the actors gain momentum and relate to each other. What I found interesting was that the film is very direct about marriage as an economic proposition and how it is often a business arrangement. The other interesting quality is that many of the scenes are almost surreal in their grotesqueness. I really like seeing Scott Brady in a romantic lead, he's very fresh. The film is interesting as a Fox film made right before their turn to CinemaScope the next year with the somewhat similar, and inferior, How to Marry a Millionarie. This film would have been in color and 'scope if made later. It also has some location shooting which was a growing trend at Fox and other studios during this period yet the pacing and dialogue-driven quality of the film is much like a screwball comedy from 10 years earlier.

Whatever merit THE MODEL AND THE MARRIAGE BROKER has is due entirely to the caustic, funny performance of Thelma Ritter as Mae, the lady with the New York accent who went into the broker business to make other ladies happy (after her own unhappy romantic past).

And it's a good thing Thelma carries the film, with the expert help of a few very good character roles--one in particular being MICHAEL O'SHEA, as a card-playing friend prone to giving her advice. SCOTT BRADY does a nice job as an eligible bachelor who shares some good scenes with Ritter and JEANNE CRAIN.

But Jeanne Crain is the problem. She looks so cool and detached as the unhappy model that it throws the comedy aspects a little off focus. She seems to be walking through her part instead of conveying any real emotion.

Still, a worthwhile little gem strictly because of Thelma Ritter. She's finally got a leading role and she runs away with it.

Nicely directed at a brisk pace by George Cukor.

The movie's a showcase for Ritter's brand of cranky charm. She's a marriage broker, pairing up lonely people, and dispensing step-motherly advice. There's a parade of familiar supporting characters. Too bad they don't get more screen time, especially the poignant Nancy Kulp and the fast-talking Michael O'Shea. The film's too smooth to be genuinely funny. Still, there're amusing moments, occasional caustic charm, but the underlying theme of lonely people may be a reason director Cukor doesn't go for big laughs. I agree with the reviewer who thinks Crain too cool and detached to get into the swim. On the other hand, Brady surprised with a somewhat animated performance, unlike his usual stolid screen presence.

This is also a movie that really needs Technicolor. Instead the dull grays do nothing to underscore a lighter mood or heighten New York City locations. Anyway, Ritter certainly deserves top billing, which instead went to the better-known Crain who doesn't get much screen time until the last third. Plus, it's to someone's credit that a middle-age woman gets so much attention in a medium not known for the aging or plain-faced. Overall, it's an amiable film with an unusual central performance, a poignant topic, but also with an over-stretched script, likely to accommodate movie star Crain.

George Cukor may well have directed more good movies than anyone else. Not to say that he was the greatest director of all time. Orson Welles was no slouch. Neither was Sam Fuller. But look at the list of movies Cukor directed and you will see an extraordinary oeuvre.

"The Model and the Marriage Broker" is one of the lesser known of his very good movies. It has beautiful shots of New York. The ensemble cast is uniformly superb. The story is appealing, thanks to Charles Brackett. And Thelma Ritter -- the great Thelma Ritter -- gets to play a title character! (She is the marriage broker -- two words and more letters -- rather than the model, of course.) She could light up a movie the same way Shirley Booth could. Some say she stole movies from others. Here that was not necessary, as she is the star. (Her best performance, for me, is still in "Pickup On South Street." But that is a supporting role.) Shirley Booth did so few. She must have been great on the stage. What a shame for posterity that she made only a handful of movies.

Ritter, however, made loads of them. And this is one of her best. It also is one of Cukor's best. Who could say which is his best? Probably there is no single best. I do feel he was generally better with black and white than in his color outings. And I have a particular fondness for "The Marrying Kind." But who knows? The Judy Holiday and Aldo Ray characters might originally have been brought together by the character Ms. Booth plays so beautifully in this story.