Hard, Fast and Beautiful!

Claire Trevor stars and owns this movie about a woman who decides that the best way to get the good things in life is through her daughter's skill with a tennis racket. Sally Forrest is the daughter who if she had her own way would settle down with Robert Clarke the boy next door and play tennis for fun. Stan Musial had a great philosophy in that he knew it was time to quit when he no longer had fun just playing the game. Too many don't feel that way.

And too many live vicariously through their children. The best portrayal of that phenomenon was Jo Van Fleet in I'll Cry Tomorrow. But Lillian Roth's stage mother had nothing on Trevor as she guides and manipulates Forrest and her career.

Hard, Fast And Beautiful also joins the ranks of films that takes a solid look at our peculiar view of amateur and professional sports and the problems that causes.

The scene when Trevor and Forrest finally level with each other is a classic. So is the deathbed scene with them and her beloved but weak father Kenneth Patterson. Look for Carleton G. Young as well as the tennis coach also hoping to live off the Forrest gravy train.

Most of all this is for fans of Claire Trevor.

Despite the title, it's not a J.D. story....HARD: the egotistic, driven opportunist mother (Claire Trevor), FAST: the vacillating but easily influenced ace tennis player daughter (Sally Forrest), and BEAUTIFUL: the always polite, handsome boyfriend with the patience of Job (Robert Clarke) That just about sums it up. Viewers will marvel over how the girl's caring father is completely left out of the whirlwind tours and trips to Europe and ignored while pursuing her career. Outside of her devoted boyfriend, he's the only one who truly cares about her. It takes far too long for the girl to wise up and put her mother in her place, but it's worth watching to finally see it happen.

Hard, Fast and Beautiful (1951)

You might not think a tennis movie--that is, a movie about a young girl making her way up the tennis ladder to the championships--would go very far. And this is the main focus for the first half of it. But in the background some relationships are developing, and here is the real meat of this B-movie, with its slightly suggestive title.

At the core is a fairly new kind of stereotypical family, the kind broadened in 1950s television from the Donna Reed Show to My Three Sons to the Brady Bunch--a suburban utopia. Husband and wife in this case are politely happy, and the wife, played brilliantly by Claire Trevor, in particular is secretly frustrated. When her daughter begins her rise in the tennis world, and falls in love with the local pretty boy (a nice guy, too), she starts to be jealous, or at least to see what she's been missing in her own life. And then the power man comes along, a mover and shaker in the tennis world who see the daughter's talent and also the mother's hunger and charm.

It can only get interesting from there, and it does.

The tennis scenes are not terrible, but there are too many of them, I think, and we don't totally care who wins the matches. But again, this is backdrop, and as the ball is hit hard and fast, we see the subplots brood and get interesting, within the limits of the code still holding sway for another decade.

This is an Ida Lupino movie. You might not think it matters that a woman directed a fairly formula kind of film, but there are slight tilts to the attitudes that seem only possible by having a woman (and a woman like Lupino) in charge. And the characters who really rise to the most complexity are women, the daughter to some extent limited by her role as a young and naive whiz, but the mother, for sure. Between Trevor and Lupino we have an interaction that comes alive on screen.

The combination of director Ida Lupino, stage/sports mother Claire Trevor and screenwriter Martha Wilkerson make this 1951 movie a winner. Although the story closely resembles the classic "Mildred Pierce", these three women and Sally Forrest who plays the railroaded daughter, combine to make the movie better than its B-picture status. The final shot of Trevor sitting in the empty stands, coiffed hair rumpled, perfect posture slouched and no one else in sight really gives a melancholy emotional conclusion to the film. Although alone, with newspapers and debris blowing across the empty tennis court, she still hears the sounds of her daughter's triumphs with tennis balls hitting racquets over and over and over. It's a fitting end to this monster of a mother movie. While it's not a great movie it is a good one and worth watching for the intense relationship/rivalry between the mother and daughter. Though we may have seen this "type" of movie before, the women involved bring it to a fever pitch and bring a uniquely women's perspective to this tale.

This movie turns its characters' souls inside-out, but never deviates from its pacing or its sports theme. Interesting performances punctuate an early 50's version of a woman trying to find her own way by eschew popular convention. The studio ending forced upon Lupino blunts some of the intended effect.