Full of Life

Those expecting a screwball comedy will be disappointed, as this is a tender, touching slice-of-life comedy. The incomparable Baccaloni is afforded some screwball moments having sympathy pains along with Judy's pregnancy, and he is marvelous. It works all-the-better, I think, that Judy contrasts him by playing this one straight-up. This is one of the few movies I've ever seen that depicts the fact that when a woman ishaving her first child, we are far from experts at why we feel the way we feel or how it needs to be handled. Richard Conte is winningly tender as the insecure husband with money worries but unconditional love. And the supporting cast is marvelous. I love this movie.

I discovered "Full of Life" when I was in High School in the early 1980's. I had never even heard of the film (a comment shared by several contributors to this site) when it came on late night television. It's funny to think a teenager could have been so moved by a film about experiences he has not yet had; but, I was. And as I have returned to this film throughout the years I find it becomes all the more perceptive and, yes, beautiful. "Full of Life" is about life, about the human comedy and it contains three extraordinary performances: one from the ever-amazing Judy Holliday, one from the underrated Richard Conte and one from opera star Salvatore Baccaloni, magnificent as the father-in-law. The screenplay earned a nomination from the Screen Writers Guild, but that is the only contemporary recognition it received. However, it remains--to those willing to discover it's sublime charm--a quietly moving, tender film for thoughtful viewers.

At the first sigh, one of the comedies of the period. Not so easy but inspired crafted. Virtues - Salvatore Baccaloni performance, axis of the nuances of the classic flick and the Catholic faith presence. And, sure, no doubts, Judy Holliday beautiful work. Only problem , for me, Richard Conte seems too little old to be a credible Nick. But, maybe, this is just an insignificant detail.

I have seen this film only a few times. The first time I turned it on after it had begun. The second time and all the times after, I looked for it. 1950's to the max. The conflict of the old and new ways, father and son. It is all here and told in a clear sweet story.

I've been discovering (and rediscovering) the wonderful career of Judy Holliday, but this is the first film out of 5 of hers I've seen so far that left me feeling disappointed and underwhelmed. It feels like a "slight', pleasant film at best, despite addressing some fairly taboo and/or moral issues with modern (for the time) sensibilities clashing with old world customary beliefs, and old world's more or less winning out. The film tries to straddle both viewpoints and ends up with a confusing conclusion that simply doesn't work. Watching with today's eyes, much of it's sensibilities come across either dated or hypocritical (i.e. Heavy drinking/drunkenness throughout and encouraging a pregnant woman to do so, marriage viewed as, "worthless" unless consummated in a Catholic church, etc). And while there are moments, the comedy, drama, and "moral" messages never seem to come to any solid fruition. Judy is fine here, but the real scene stealer of the film is Salvatore Baccaloni, who plays a character so over the top in a broad, comedic, stereotypical sense, that everyone around him looks flat or miscast by comparison. Richard Conte's the biggest culprit, IMO, conveying zero comedic sensibility, and his straight up dramatic approach feels incongruous and leaves the viewer confused as to what exactly it is they're watching.

It's a film that, while I was watching it, I couldn't help feeling that it could have been much more enjoyable and successful in it's intent had it been rewritten for Lucy and Desi.