Agence cupidon

Although Jeanne Crain gets star billing in this comedy/drama, and even Scott Brady as the X-Ray guy gets billing over Thelma Ritter, this is Ritter's film from the get-go.

She plays Mae Swasey, a no-nonsense marriage broker with a heart of gold. She makes a small living helping life's lonely plain-janes and balding swains find a little happiness. And some of her clients are real doozies. She holds little Sunday afternoon "parties" where the lonely and desperate come together over coffee and cakes and get nudged into pairs.

Of course Mae has a secret of her own: she's in the business because her husband was stolen away 20 years before and she knows loneliness. When she accidentally runs across a naive model (Crain) being strung along by a married man, she knows the score.

So Mae manipulates the model and a struggling X-Ray guy who makes only $75 a week in New York City into some sort of relationship. But they get resentful and send Mae packing. The trouble is that while these glamorous types might not need her help (but they do), many others really do.

Crain learns this after Mae closes shop and goes off to a resort for a rest. Crain meets a few of Mae's customers who can't make a move without her compassion and sage advice. Crain catches on and does a little manipulating of her own.

Thelma Ritter is sensational as Mae. She funny and down to earth and can spit a cherry pit across a room with the best of them. Jeanne Crain is good as the model, and Scott Brady does well as a X-Ray guy. Excellent supporting cast includes Zero Mostel, Nancy Kulp (in her film debut), Dennie Moore, Frank Fontaine, Helen Ford, Michael O'Shea, Allison Daniell as Mae's secretary, Maudie Prickett, Frank Ferguson, JOhn Alexander, Jay C. Flippen, Mae Marsh, Kathryn Card, and Joyce Mackenzie.

They don't make films like this anymore. More's the pity.

The movie's a showcase for Ritter's brand of cranky charm. She's a marriage broker, pairing up lonely people, and dispensing step-motherly advice. There's a parade of familiar supporting characters. Too bad they don't get more screen time, especially the poignant Nancy Kulp and the fast-talking Michael O'Shea. The film's too smooth to be genuinely funny. Still, there're amusing moments, occasional caustic charm, but the underlying theme of lonely people may be a reason director Cukor doesn't go for big laughs. I agree with the reviewer who thinks Crain too cool and detached to get into the swim. On the other hand, Brady surprised with a somewhat animated performance, unlike his usual stolid screen presence.

This is also a movie that really needs Technicolor. Instead the dull grays do nothing to underscore a lighter mood or heighten New York City locations. Anyway, Ritter certainly deserves top billing, which instead went to the better-known Crain who doesn't get much screen time until the last third. Plus, it's to someone's credit that a middle-age woman gets so much attention in a medium not known for the aging or plain-faced. Overall, it's an amiable film with an unusual central performance, a poignant topic, but also with an over-stretched script, likely to accommodate movie star Crain.

Thelma Ritter was a national treasure. She could combine humor and pathos, and the warmth beneath the crusty exterior was always in evidence. Her presence in any film was always one of the high points, but this one is totally hers; she probably has in it the most screen time of any film she was in and, but for the vagaries of Hollywood, should have been first-billed in the credits. She brings great compassion to the character of Mae, who has endured a great loss and as a result has found herself in a business whose goal is to help others.

Under Cukor's sensitive direction, a wonderful script is brought to life (and, in view of his purported concerns about his physical appearance, one wonders if the script's allusions to the lonely and less-than-beautiful people of the world had a particular resonance for him). Dennie Moore, who had played the saucy maid in Cukor's "Sylvia Scarlett" 16 years earlier, shows up and is again a delight.

George Cukor may well have directed more good movies than anyone else. Not to say that he was the greatest director of all time. Orson Welles was no slouch. Neither was Sam Fuller. But look at the list of movies Cukor directed and you will see an extraordinary oeuvre.

"The Model and the Marriage Broker" is one of the lesser known of his very good movies. It has beautiful shots of New York. The ensemble cast is uniformly superb. The story is appealing, thanks to Charles Brackett. And Thelma Ritter -- the great Thelma Ritter -- gets to play a title character! (She is the marriage broker -- two words and more letters -- rather than the model, of course.) She could light up a movie the same way Shirley Booth could. Some say she stole movies from others. Here that was not necessary, as she is the star. (Her best performance, for me, is still in "Pickup On South Street." But that is a supporting role.) Shirley Booth did so few. She must have been great on the stage. What a shame for posterity that she made only a handful of movies.

Ritter, however, made loads of them. And this is one of her best. It also is one of Cukor's best. Who could say which is his best? Probably there is no single best. I do feel he was generally better with black and white than in his color outings. And I have a particular fondness for "The Marrying Kind." But who knows? The Judy Holiday and Aldo Ray characters might originally have been brought together by the character Ms. Booth plays so beautifully in this story.

I agree with other comments about this being a little-known gem with a terrific cast and that it is a pleasure to see Thelma Ritter in a leading role. Cukor's direction is efficient and he's particularly good with long, unbroken takes which help the actors gain momentum and relate to each other. What I found interesting was that the film is very direct about marriage as an economic proposition and how it is often a business arrangement. The other interesting quality is that many of the scenes are almost surreal in their grotesqueness. I really like seeing Scott Brady in a romantic lead, he's very fresh. The film is interesting as a Fox film made right before their turn to CinemaScope the next year with the somewhat similar, and inferior, How to Marry a Millionarie. This film would have been in color and 'scope if made later. It also has some location shooting which was a growing trend at Fox and other studios during this period yet the pacing and dialogue-driven quality of the film is much like a screwball comedy from 10 years earlier.