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We Who Are Young

  • 1940
  • Approved
  • 1h 20min
NOTE IMDb
6,0/10
406
MA NOTE
Lana Turner and John Shelton in We Who Are Young (1940)
Two young office workers working at the same large firm secretly marry and defy their employer's policy against coworker fraternization. When the marriage is discovered, Margy (Turner) is fired. This causes the newlyweds to face serious financial struggles and Bill (Shelton) pursues desperate, perhaps even illegal, measures to make ends meet when the couple learn they are expecting their first baby.
Lire trailer2:22
1 Video
35 photos
DrameMystèreRomance

Ajouter une intrigue dans votre langueTwo young office workers working at the same large firm secretly marry and defy their employer's policy against coworker fraternization. When the marriage is discovered, Margy (Turner) is fi... Tout lireTwo young office workers working at the same large firm secretly marry and defy their employer's policy against coworker fraternization. When the marriage is discovered, Margy (Turner) is fired. This causes the newlyweds to face serious financial struggles and Bill (Shelton) purs... Tout lireTwo young office workers working at the same large firm secretly marry and defy their employer's policy against coworker fraternization. When the marriage is discovered, Margy (Turner) is fired. This causes the newlyweds to face serious financial struggles and Bill (Shelton) pursues desperate, perhaps even illegal, measures to make ends meet when the couple learn they... Tout lire

  • Réalisation
    • Harold S. Bucquet
  • Scénario
    • Dalton Trumbo
  • Casting principal
    • Lana Turner
    • John Shelton
    • Gene Lockhart
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    6,0/10
    406
    MA NOTE
    • Réalisation
      • Harold S. Bucquet
    • Scénario
      • Dalton Trumbo
    • Casting principal
      • Lana Turner
      • John Shelton
      • Gene Lockhart
    • 14avis d'utilisateurs
    • 1avis de critique
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 1 victoire au total

    Vidéos1

    Official Trailer
    Trailer 2:22
    Official Trailer

    Photos35

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    Rôles principaux54

    Modifier
    Lana Turner
    Lana Turner
    • Marjorie White Brooks
    John Shelton
    John Shelton
    • William Brooks
    Gene Lockhart
    Gene Lockhart
    • C.B. Beamis
    Grant Mitchell
    Grant Mitchell
    • Jones
    Henry Armetta
    Henry Armetta
    • Tony
    Jonathan Hale
    Jonathan Hale
    • Braddock
    Clarence Wilson
    Clarence Wilson
    • R. Glassford
    Ian Wolfe
    Ian Wolfe
    • Judge
    Hal K. Dawson
    • Salesman
    John Butler
    John Butler
    • Mr. Peabody
    Irene Seidner
    Irene Seidner
    • Mrs. Weinstock
    Charles Lane
    Charles Lane
    • Perkins
    Horace McMahon
    Horace McMahon
    • Foreman
    • (as Horace MacMahon)
    Sam Ash
    Sam Ash
    • Clerk
    • (scènes coupées)
    Dorothy Adams
    Dorothy Adams
    • Bellevue Hospital Nurse
    • (non crédité)
    Ernie Alexander
    • Expectant Father
    • (non crédité)
    Charles Arnt
    Charles Arnt
    • Eckman
    • (non crédité)
    Jane Barnes
    Jane Barnes
    • Office Girl
    • (non crédité)
    • Réalisation
      • Harold S. Bucquet
    • Scénario
      • Dalton Trumbo
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs14

    6,0406
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    Avis à la une

    curtis-8

    Bizarre version of 1940's "normal"

    "We Who Are Young" is the odd kind of movie that David Lynch, the Cohen Brothers, and Ed Wood Jr. must have adored as young men. It's an odd, stilted bit of didactic goofiness about how tough it is to get ahead in a stifling capitalistic society. It follows a young couple, a pre-stardom Lana Turner and John Shelton, as they invariably make the wrong financial moves during the pre-WW II Depression era. They both work at the same office-an accounting firm run like a factory, lunch-period buzzers and all-until it is discovered that they are married. No married women are allowed by company policy, and she is fired (but not before receiving lots of stern advice on living within one's means by the robotic department manager). And this happens just after they buy over $200 worth of new furniture on his $25 a week salary, now their only income. Then she gets pregnant. Then HE gets fired (and has an absolutely histrionic girly-fit, yelling at his boss that `if this affects my wife or child in any way, I'll come back here and just kill you! I'll just kill you!'). And it goes on. What makes the film so special, besides the unintentionally hilarious dialogue, is the way the actors will periodically stare into space as we hear their poetic thoughts overdubbed-very, VERY Ed Wood (and not unlike the similarly awkward thought-balloon overdubbing in Lynch's version of `Dune'). But the gooney monologues are certainly not constrained to the characters' inner world; they also take the occasion to look straight into the camera and actually speak their thoughts at length, even though other characters may be right next to them. How to react to this kind of strangeness is left entirely up to you, the viewer, because the film is so ineptly made you can have no idea whether it's trying to be serious or comedic. I don't want to spoil it for you, but let's just say that if you're a fan of the Coen Brothers' `The Hudsucker Proxy', the less violent moments of Lynch films like `Blue Velvet', Wood's `Glen or Glenda' and the like, you will enjoy seeing their genesis in this nutty bit of 1940's agitprop-pop.

    Look for it on AMC and Turner Classic.
    HarveyA

    Dalton Trumbo script makes this very interesting

    Dalton Trumbo, who wrote the script for this film, was one of the screenwriters blacklisted as a result of the Communist scare of the late 1940s and early 1950s. If you watch the movie with that in mind, you'll find fascinating the political sentiments he puts in the mouth of the protagonist (Shelton).

    It's not that the philosophy is Marxist, exactly, but it is certainly a left-wing view of working life. Shelton's antagonist, Bemis, expresses a very pure libertarian view--he got where he is though his own efforts alone, he never asked anyone for help, nor got help from any, and he's damn proud of it. He has contempt for "weaklings" who don't match his self-sufficiency.

    Shelton--Trumbo, that is--calls him out. He says that no one has ever done anything alone, he's always had help from the others around him and that people depend on each other for support and there's nothing wrong with that. Rules may be rules, but they must be administered with human kindness.

    We're still having the very same argument today, in almost the same words. I've found myself having identical discussions on Facebook and Reddit, and the libertarian view is alive and well. Interestingly, Trumbo makes some of the same points I have made in these discussions.

    Anyhow, there's a non-obvious deeper layer to this film that makes it interesting in today's political environment. It's worth seeing for that reason, if for no other.
    5bkoganbing

    Young love in the Great Depression

    The 'young' in the title of this film are a newlywed couple played by the rising Lana Turner and leveling John Shelton. We Who Are Young tells of the trials and travails of young married folk during the 30s.

    Both are working until Turner takes maternity leave. Shelton who has been raised in a strong work ethic home is being driven slowly crazy by the enforced idleness as he seeks employment in an uncaring world.

    It's hard to explain, but during the Depression years unemployment rose to almost a quarter of the population. If you were raised in a strong work ethic home getting a relief check (welfare in these days) was an act stripping the male of his manhood. That is conveyed quite well by Shelton and Turner is wonderful as the supportive wife and soon to be mother.

    I would compare this film to the James Stewart/Carole Lombard classic Made For Each Other. Made For Each Other is better but it covers a lot of the same ground that We Who Are Young Does.

    Lana Turner's fans will approve.
    5planktonrules

    A bit of a surprise, coming from MGM.

    0001

    During the 1930s and into the 40s, MGM generally tried to paint a very rosy picture during the Depression. Additionally, Louis B. Mayer himself (the head of the studio) worked very hard to defeat the leftist, Upton Sinclair, during his attempt to win an election. Why? Because Mayer was dreadfully afraid of communism and socialism and fought hard to nip it in the bud. In light of this, how could a film like "We Who Are Young" get made? Could Mayer have missed this one? Surely he must, as it's progressive message clearly is NOT what 'Uncle' Louis wanted America to see!

    The plot of "We Who Are Young" is a lot like "The Crowd" and "Saturday's Children". The films are all about nice young folks who marry and try to grab a part of the American Dream but end up getting royally screwed. Again and again, things in the system seem to conspire against the couple as they try to just get by. At least that is the first 80% of the film--a strong Progressive message from the era...surprisingly strong. Unfortunately for the film, but perhaps fortunate for Mayer and his sentiments, the picture loses its way towards the end and degenerates too much towards sentimentality and lacks the hard edge you find in these other films. Overall, worth seeing but it just misses the mark. And, interestingly, although this is a Lana Turner starring vehicle, her co-star, John Shelton easily outshines her as the beleaguered husband.021
    7jerryuppington

    A good social docu-drama of the era

    I don't agree completely with the other reviewer.

    I think this movie is a fine social documentary of the times. Although the movie was filmed in 1940, the scene is really the Depression 30s.

    Movies of that era were either 1) escapist, "fluffy" movies, about escapades among the rich and/or young, 2) musicals, or 3) gangster flicks. Mostly. None of these genres really reflected the tenor of those times.

    True docu-dramas of the era are rather rare; perhaps the people just didn't want to be reminded of how awful things were.

    This movie depicts the trouble a young couple has in succeeding (or even surviving) in a capitalist, Depression society. Both boy and girl loses jobs, and the girl is pregnant; one senses homelessness and breadlines around the corner. The angst felt by such couples in those days is poignantly portrayed here.

    True, some of the dialog is corny and dated, but one must remember that the thinking of the 1930s was vastly different than that of today's.

    The performances are spot-on, too; every one of the characters is believable.

    This movie is well worth watching for the social documentary that it is.

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    Centres d’intérêt connexes

    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drame
    Jack Nicholson and Faye Dunaway in Chinatown (1974)
    Mystère
    Ingrid Bergman and Humphrey Bogart in Casablanca (1942)
    Romance

    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Cinematographer John F. Seitz took over as director of photography when Karl Freund fell ill.
    • Gaffes
      When Margy and Bill leave the office for lunch, briefly reflected in a store window, a crew member is visible sitting at the base of a loudspeaker on a stand..
    • Citations

      William Brooks: [William bursts into Beamis' office] I came for that plan, Mr Beamis. You know, my re-organisation plan that you never read.

      C.B. Beamis: Oh, yes, I... I've been wanting to talk to you about it.

      William Brooks: Yes, well I don't want to talk about it.

      C.B. Beamis: What do you mean?

      William Brooks: I don't find it very pleasant talking with you, Mr Beamis. I worked here three years and the only talks we ever had were when you fired my wife and when you fired me. And that isn't exactly my idea of conversation.

      C.B. Beamis: Now look here, William, I've explained to you that I don't make the rules.

      William Brooks: Well I'm not kicking about your rules. It's the way you operate them. You're a wrong guy, Mr Beamis. You've got the soul of an adding machine. Sure, you can add up the rules alright, you can add up anything that's in black and white. But the one thing that you can never add up, Mr Beamis, is how to give a guy a break.

      C.B. Beamis: Now see here, I don't have to tolerate this. What right have you to speak that way to me?

      William Brooks: I've got the right that comes from spending three whole years of my life in your office. I worked hard for you and did my job well. The only thing I wanted was to get married. Now that isn't asking too much is it? So you fired my wife and when they attached my salary, you fired me. When you take away a family's income, Mr Beamis, you take away its very life. You might just as well have shot me. It would have been kinder. Oh, but I forgot. You don't know anything about being kind.

      C.B. Beamis: I certainly don't. Not if it means shooting people, I don't.

      William Brooks: Well, I wouldn't expect you to understand. I should have saved my breath. You're not human.

      C.B. Beamis: But you are, of course. I've noticed that about you weaklings. You're always twice as human as anybody else.

      William Brooks: So I'm a weakling because I needed help, huh? Well, Mr Beamis, we don't speak the same language.

      C.B. Beamis: I'm afraid you'll find the same difficulty with any employer.

      William Brooks: Nah, no, you had me believing that all bosses are like you. But I've found out differently. I'm going to work for a man who helped me when I needed it. But you wouldn't understand that either.

      C.B. Beamis: I understand it alright. And it's the one thing that I detest. In all my life I've never asked for help or accepted any. What I have, I've gotten through my own efforts. And I'm proud of it.

      William Brooks: Oh, sure, you've got something to be proud of alright - a bank account with a million dollars worth of hatred.

      C.B. Beamis: That's not true.

      William Brooks: Why, every time you walk through that office, you'd feel the hate, if you were human. Yes, I say you're not human and I'll tell you why; it's because you really think that you've never been helped. You've never found out like I have that people could be kind, could understand. You've never found out that people are better than rules. And I'll tell you why you've never found out; it's because you've got a lie in your head. The same lie that you just told me. You've never been helped? Why you and I and everybody from the minute they're born they're being helped. The whole country, our homes, our churches, our schools and what they stand for, nobody could build those alone. We did it together, all of us, the people helping each other, and believe me, Mr Beamis, if any man says that he made his money or built his life without the help of anybody else, he's a fool! He's wore than a fool, he's a liar.

    • Connexions
      Featured in Red Hollywood (1996)
    • Bandes originales
      Sidewalks of New York
      (1894) (uncredited)

      Music by Charles Lawlor

      Played during the opening credits, and as background music and at the end

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    Détails

    Modifier
    • Date de sortie
      • 19 juillet 1940 (États-Unis)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • I Do
    • Lieux de tournage
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, Californie, États-Unis(Studio)
    • Société de production
      • Metro-Goldwyn-Mayer (MGM)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 362 000 $US (estimé)
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 1h 20min(80 min)
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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