My Foolish Heart

This film will inevitably get a favorable review from me because it has two things going for it, two things that the Motion Picture Academy recognized. The first was one of the best movie songs ever written and the second was the Oscar nominated performance of its star Susan Hayward who was just entering her prime years as a movie star.

We meet Susan as she's taken to drink and husband Kent Smith has had just about enough of her. Susan has taken to abusing her daughter Gigi Perreau and Smith wants a divorce. She's willing to give it, but not custody of Perreau. As she's talking with her friend Lois Wheeler who was going out with Smith before Hayward took him away in a whirlwind wartime romance the film flashes back to their story or more properly the story of Hayward's real true love from the war, Dana Andrews.

She meets Andrews at a party where a whole lot of serviceman are crashing, welcome though they be. It was the period just before Pearl Harbor when we had built up our armed forces in anticipation that we would be in World War II, just a question of when. She's going to school and her romance with Andrews gets her kicked out which upsets mother, Jessica Royce-Landis, but father Robert Keith remembers his days from World War I and kind of takes to Andrews.

I can't say much more lest I do spoilers, but given the basic facts of the characters I've just laid out, you can probably figure the rest of the plot out.

Dana Andrews during his career in the Forties and Fifties made a specialty of playing Mr. Average Man. My Foolish Heart shows him in that vein as a performer. He and Hayward are a perfect representation of young America in that period.

As for Hayward we see the reason, the genesis of her evolution as an alcoholic in an unhappy marriage. Susan took out a patent on tough, but also romantic and tragic heroines beginning with Smash-Up and continuing on to her career capstone and Oscar winning performance in I Want To Live. She got her second Best Actress nomination for My Foolish Heart, but lost in the Oscar sweepstakes to Olivia DeHavilland for The Heiress.

By the way as good as her scenes with Andrews are, some of Hayward's best work ever on cinema are with Robert Keith. She was obviously Daddy's Little Girl as a child and she and Keith play beautifully off each other.

As for the song as cute as Baby It's Cold Outside is which was the winner for Best Song in 1949, I cannot believe that Victor Young and Ned Washington did not win for the title song of this film. It's been recorded by a whole gang of singers, the recordings I have of it are from Andy Williams and Dick Haymes and a bootleg from one of Bing Crosby's radio broadcasts. I daresay it would get to the top of the charts today even albeit with a more modern arrangement.

My Foolish Heart is one of the great romantic films ever done and definitely in the top percentage of the work of Susan Hayward.

The first time I ever saw this wonderful film I was about twelve. It was late at night and everyone else had gone to bed and I was thinking maybe I should too, but then this came on and I was hooked. I've seen this film many times since then and yet each time I watch it again it never fails to get an emotional response out of me i.e I ball my eyes out!...and us Brits have a stiff upper lip you know! They just don't make them like they used too and that's a shame.It's a great storyline, great acting and the line 'poor uncle wiggly' isn't dead in our house! Dana Andrews is yummy in it too. I cannot recommend this film strongly enough..watch it and it will always stay with you.

Susan Hayward foolish? Dana Andrews a can't-get-a-date loser? No, I didn't think so either. But they are both so good in their roles that they no only make the film work, they make it a triumph. Hayward was nominated for an Oscar, as was Victor Young's glorious title-song. Both Hayward and Young should have won.

"My Foolish Heart" is essentially a "woman's film," a label that is frequently pejorative. (But then so is "Gone with the Wind.") What makes "Heart" so transcendent, besides Hayward and Andrews, is that the entire film is so well-crafted. The dialog is first rate--by turns poignant, rueful, comic, and sarcastic--from the Epstein twins of "Casablanca" fame. Mark Robson's direction is spot-on, and he has a great cast to work with. As Hayward's father, Robert Keith contributes a beautifully shaded performance. Kent Smith and Lois Wheeler are sympathetic as two who are injured bystanders. In her film debut, Jessie Royce Landis creates the first of her flighty women who are much more than they initially seem.

Victor Young's song is reprised several times during the film and was one of the first title-songs to achieve popularity. It is especially well used in the scene near the end when Hayward is waiting for Kent Smith to bring her a drink. She hits all her marks beautifully, and the song is stunningly used as background.

I doubt that any attempt at a remake would be nearly as successful as the original. They don't make 'em like his any more--no nudity, no questionable language, no violence: just top-notch acting, writing, direction, all set to a marvelous Victor Young score.

And it should be noted that Hayward, despite her Oscar and four other nominations is regrettably underrated and largely forgotten today. Andrews never was given his due when he was alive, and he had an impressive body of work-- for example, "Laura" and "The Best Years of Our Lives" (especially his scene in the moth-balled bomber)--that put him at the forefront of talented leading men of the Forties and Fifties.

As a fan of Susan Hayward's, this is one of her best films. I still cry every time I see it. The story is timeless and touching. A must see!

There isn't a great deal of J. D. Salinger's short story "Uncle Wiggly in Connecticut" left in Mark Robson's supposed film version "My Foolish Heart" but it's a superior example of the 'woman's picture' nevertheless, thanks almost entirely to a superb Susan Hayward as the unhappily married woman recalling her first love, (Dana Andrews, always a good bet). The director was Mark Robson and it's one of his better pictures while the Epstein's (Julius J. and Philip G.) did the screenplay, again a good sign. Hayward was Oscar-nominated, as was the famous title song which, in its many incarnations, has outlived the film. No classic, then, but an intelligent and likeable picture that deserves to be better known.