Le docteur et son toubib

Very good script with excellent characters and interactions, nicely paced. Plenty of witty, deftly-written dialogue that keeps things moving along. The highlight for me was the big "ice-breaker" between Bing and the townsfolk: the square dance in the barn ("Country Style"), with Bing doing the impromptu calling (and dancing). Wonderful, "feel-good" scene.

The only minor complaints are 1.) the script starts to lose its focus in the final third, with BIng's various plans to leave town 2.) the rather "tidy" and abrupt ending, 3.) the under-resolved subplot with Frank Faylen and 4.) the bright "day-for-night" scene after the baby delivery episode. I was confused, since it was obviously a sunny day, but there were several "good nights" , etc in the dialogue.

But these are fairly minor quibbles. It's a delightful, engaging film, with Barry Fitzgerald (and Elizabeth Patterson) in top form. Typically attractive and charming songs by Bing's favorite song-writing team, Burke and Van Heusen.

A keeper. LR

I first saw this film on TV about 25 years ago and the magic and chemistry of Bing and Barry was obvious. Years later, I finally acquired this film in VHS format(I had recorded it previously in Beta format). It has everything to offer to movie buffs and I hope that the networks start to show it as a Christmas movie. It took the public about 30 years to catch on to "It's A Wonderful Life". This movie, like another of Bing's gems"Holiday Inn(1942)" could fit right in at any time of the year;and with the beautiful Joan Caulfield-anytime. I think that to date, I've watched it about 30 times. My favorite line is Bing's telling taxi driver Percy Kilbride(who refuses Bing's offer of a tip) "You'ld be a big hit in New York".

WELCOME STRANGER (Paramount, 1947), directed by Elliott Nugent, with its dramatic sounding title, stars crooner Bing Crosby in another one of his most popular movies that's become forgotten during the course of the years. Aside from reuniting him with his charming BLUE SKIES (1946) co-star, Joan Caulfied, the attentions rests mainly on the reunion of Crosby and Barry Fitzgerald, stars and Academy Award winners from the Best Picture win of GOING MY WAY (1944). With Crosby and Fitzgerald playing priests with differences of opinion proved so successful, their second venture, basically the same premise, offers them another shot in the arm for their roles as doctors.

The story opens in Boston where Doctor Joseph McRory (Barry Fitzgerald), from the small town of Fallbridge, Maine, planning his first vacation in 35 years, arrives at the Physician and Surgeon Placement Bureau to meet with Mr. Daniels (Paul Stanton) to inquire about the doctor who's to fill in for him for the next two months. Being told that the selected Doctor Jim Pearson is on his way to Fallbridge, McRory takes the next train home to meet with him. While on board, McRory encounters a fellow passenger (Bing Crosby) who, through no fault of his own, constantly gets on his nerves. Upon his return, McCrory gets to meet Pearson, who turns out to be the stranger he met on the train. Going over his qualifications, he finds Pearson incompetent, resenting his down-to-earth medical methods, the clothes he wears, and occasional singing. Pearson soon meets Trudy Mason (Joan Caulfield), a local schoolteacher who volunteers her time assisting McRory at his clinic, who, too, finds the new city doctor quite arrogate and taking an instant dislike to him as well. As he tries to get to know her better, she informs him she's engaged to Roy Chesley (Robert Shayne), the town pharmacist. As much as Pearson has become an unwelcome stranger in town, the only one who's grown to like him is McRory's housekeeper, Mrs. Gilley (Elizabeth Patterson), who offers him advise how to improve himself, like "by not talking so much." As McRory gets to go on his long awaited fishing trip, an emergency occurs that prevents him from going. Through the course of time, Pearson proves himself an asset to the community, though McRory continues to have his doubts about him. Situations occur when Charles J. Chesley (Charles Dingle), head of the town council, arranges to phase McRory out of his profession in favor of a much younger doctor, Ronnie Jenks (Larry Young), to take charge of the hospital.

In the supporting cast are Wanda Hendrix as Emily, a young teenager with a crush on the Pearson; Frank Faylen as Bill Waters, Emily's father and editor of the Fallbridge Weekly newspaper with a drinking problem; Percy Kilbride in his droll but amusing pre-"Pa Kettle" caricature of Nat Dorkas, a local taxi driver; Thurston Hall appearing briefly as Congressman Beeker; as well as the film's own director, Elliott Nugent assuming a small role as Doctor White.

Concentrating more on plot than songs, it's become one of the least tuneful of the Crosby films at that time. All sung by Bing Crosby, the motion picture soundtrack, with songs by James Van Heusen and Johnny Burke, include: "Smile Right Back at the Sun," "Country Style," "My Heart is a Hobo," and "As Long as I'm Dreaming." "Country Style" is a highlight production where everyone gathers together in the barn as Crosby's character calls to lead and sing to a square dance. For the fishing sequence with Fitzgerald, Crosby catches more fish through his singing of "My Heart is a Hobo." "As Long as I'm Dreaming," is a nice tune worthy of mention set on a sleigh ride, through nothing close to becoming an Academy Award nominee as "Swinging on a Star" from GOING MY WAY.

WELCOME STRANGER has that sort of feel-good style of either directors Frank Capra or Leo McCarey. In true Crosby tradition, his character looks on the positive side regardless of negative obstacles. Crosby and Fitzgerald make a grand pair of opposites, which is why their chemistry works so well. Comparing their performances here to GOING MY WAY would not be out of the ordinary. Though teamed together again in TOP O THE MORNING (1949), it proved to be the weakest of their three collaborations and least known and revived. Taking a cue from Bob Hope comedies, Crosby gets into the act by throwing in an in-joke on his own. Being told there's Bob Hope movie being shown in town, Crosby's character naturally passes it up. The best portion of the entire film, however, in regards to comedy, is the official meeting between Crosby and Fitzgerald meet, where everything seems to go wrong.

Formerly shown on cable television's American Movie Classics (1995-1998), later on Turner Classic Movies (TCM premiere: January 24, 2013), and placed on video cassette in 1995, and a decade later on DVD as a companion piece to Crosby's earlier underrated gem, SING YOU SINNERS (1938), WELCOME STRANGER, as a whole, may not offer much by ways of excitement of car chases or courtroom tactics. In general, it's a simple leisurely-paced story with well-developed character study on small town folks living in country style, with diagnoses as to how opposites attract, especially these pipe smoking doctors having more in common besides the use of stethoscopes.(*** surgical gloves).

Nah, I felt more "unwelcome" watching this, than welcome. Anyway, if you want to see Bing Crosby and Barry Fitzgerald in more appealing roles, watch "Going My Way" instead. In that movie, the guys play priests. Here, they are doctors.

The trouble was Fitzgerald was so bad, or at least so "crabby," he was downright annoying to watch in here. His Irish brogue with the crabby personality made him all the more irritating. Usually I love the Irish characters and accent, but not the idiot character ("Dr. Joseph McRory") in this movie.

In both films, you get the same thing: the younger man is always the "good guy" and the older, more traditional man is always the "bad guy." Hollywood has always sided with rebels, those who challenge either authority or the old ways.

Bing Crosby and Barry Fitzgerald, who scored a hit playing Catholic priests in "Going My Way," reunited a few years later in this tale of small-town doctors. I expected this to be just a secular version of the earlier film. In a way it is, but it starts out considerably darker.

Crosby's character, a free-spirited young physician named Jim Pearson, is pretty much like the priest he once played, except that this guy has an eye for the ladies. Pearson is easygoing, quick with a quip and blessed with a great singing voice.

But Fitzgerald's character, Dr. Joe McRory, is a less likable version of the crusty old priest he portrayed earlier. At least at the beginning of the film, McRory is not just eccentric and cantankerous, he's moody and sometimes downright mean.

Early on, Pearson heads to the little community of Fallbridge, Maine, to assist McRory's practice. The two men meet accidentally without knowing each other's identities, and due to a series of trivial mix-ups, the old doctor develops a nasty grudge against the young stranger. McRory's insistence on quarreling at every turn is supposed to be funny, but it makes him seem almost unhinged.

The misunderstanding is soon resolved. But McRory, instead of laughing it off, tries to drive Pearson out of town, denouncing him as a quack and a scoundrel.

The prickly old doctor persuades the leading folks in Fallbridge to give Pearson the cold shoulder, too. Among these people is pretty schoolteacher/amateur nurse Trudy Mason (played by Joan Caulfield), who fights her obvious attraction to the newcomer by repeatedly insulting him.

None of this makes any sense, because young Dr. Pearson is always the soul of geniality. In fact, the attitude of the old doc and the town's elite is so illogical that you wonder how the hero will ever get through to them.

Fortunately, this is a Bing Crosby movie, with upbeat songs, contrived situations and gentle jests, some of them done with the proverbial wink at the audience. Eventually, the Crosby charm starts to work its magic on these stony New England hearts. Better late than never.

Some of the most memorable characters in this movie are the minor ones, the town's more marginal citizens who, unlike the establishment types, are friendly to Pearson from the start. Percy Kilbride is perfect as a cabdriver who likes to share his homespun philosophy. Frank Faylen plays the town journalist and town drunk, an interesting mix.

And Wanda Hendrix is totally convincing as a lonely, plain 13-year-old girl (the drunk's daughter) who develops a crush on the kindly young physician. It's hard to believe Hendrix was already 18 and on the threshold of the glamorous, sexy roles for which she's best remembered today. She was a better actress than I'd always thought.