La fureur d'aimer

Herman Wouk's classic coming of age novel about a young Jewish girl who wants to be an actress is faithfully brought to the screen by director Irving Rapper.Natalie Wood was,without a doubt one of the most beautiful women to ever grace the silver screen,and although her performance here is not nearly as good as the one audiences would be treated to two years later in "Splendor In The Grass",she's just so goshdarned gorgeous that it doesn't matter.A competent supporting cast,with Ed Wynn,and his bullfighting skit at the Mexican fiesta being one of the highlights.And the Passover Seder,with the little kids fidgeting,and the looks on everyone else's faces letting you know that everyone was ready for the food to be brought out hours ago definitely brought back memories.See the movie,and if you've never read the book,try to find a copy.I think I must have read it about 5 times when I was a kid.

This is just one of those glossy '50s tearjerkers, with glamorous people, pretty Technicolor, and fab costumes. The best thing about it is Gene Kelly, who is absolutely handsome, charming, and sexy as a slimy rogue who leads the sweet, innocent Natalie Wood down a treacherous emotional path. The two stars have tremendous chemistry, in spite of the large age difference between them. Kelly proves that he is (was?) a marvelous dramatic actor, a side seldom seen in his career outside of this movie. He should have done more of it. Wood is more of a raw, unpolished talent at this point in her career, but her vulnerability and ability to bring real tears to a scene makes her performance tremendously affecting. She's also radiant and beautiful, showing off her Audrey Hepburn-like ingenuous charisma. This is not a perfect movie, but you will be engrossed and emotionally moved by it. Fine performances also by the supporting cast, including Martin Milner, Ed Wynn, Carolyn Jones, and just about everyone else. A fine popcorn romance.

I have reviewed well over 13,000 films here on IMDb. Because of that, I have noticed that with most films there is a certain sameness and predictability about them. And, in light of this, I was very pleasantly surprised by "Marjorie Morningstar"--a truly unique and lovely film from start to finish.

Natalie Wood plays Marjorie Morganstern--a very impressionable 18 year-old who goes off to work at a summer camp. There she meets an older man (while the character was supposed to be 32, Gene Kelly was 46 at the time) who seems very talented and highly attractive. It's no surprise she falls for him, but all he really wants, at first, is to score with her. For 1958, the film is very blunt about this and even uses the word 'sex'--very, very unusual for its time. However, she wants more. When her parents find out about him, her mother is particularly worried--at 32, Noel (Kelly) should be more than just a summer camp counselor. As far as Marjorie is concerned, however, Noel is a genius--and will one day be a great playwright. It's clearly a case of a young girl seeing a man as she HOPES he'll be versus who he really is. What's next? See the film.

The film has many strong things going for it other than the uniqueness of the plot. For Kelly, it's a wonderful opportunity to get away from his pretty-boy song and dance persona and show some depth. And, for Wood, it's one of her first non-child roles where she is a serious leading lady. Apart from their nice work as well as some strong support from Ed Wynn and Martin Milner, the film has a gorgeous musical score--very haunting and sweet. Overall, this is a lovely film--- with so much more going for it.

UPDATE: I just saw a rerun of an old fifties TV show "Four Star Playhouse" and noticed that "Breakfast in Bed" actually had a lot in common with the film. However, while the film was hard-edged and rather sad, the show was more comedic...and less interesting.

While this picture was a little dated for viewing in 2000, it showed an excellent example of the acting ability of Gene Kelly especially. Natalie Wood is always a pleasure to watch; not only for her beauty but her facial expressions which are numerous. The story was a lovely one; so typical of some relationships that weren't meant to be despite the love involved. Kelly did a great job of indecisiveness that plaques some people in relationships. Well written and well acted.

The movie suffers in two ways when compared to the magical novel about theater and love: (1) by losing the late-Depression setting, when show-business was very different than in the 1950's, and (2) by casting Gene Kelly (who himself felt he was wrong for the part) as the tall, blond Noel Airman (Warner Brothers must have lost its mind not to use its contract star Tab Hunter). But those two compunctions aside, there is no other movie like it. Natalie Wood, not yet a superstar, had to read fourteen times for the role, but all of us who loved the book knew there was no one else for it. Natalie's acting ability may have been limited to looking pretty and poignant, but there's not much else that ambitious, innocent Marjorie needs to do. This story is a loving tribute to a nice girl, and a tender acknowledgment of how hard life is for one. So far as I know, no other story captures those years when a pretty young American female has the world to choose from--or how confusing her multitude of choices are. As Marjorie slowly travels through the gauntlet of family and education (and the foggy fantasies of fame that tempt any attractive teen who draws attention and compliments) toward her inevitable, bittersweet fate, a whole world is revealed--the world of The Pretty Girl, a world of school and dates and dancing and romance--with no one really to guide her--because everyone either envies her or wants to take advantage of her. By taking her story seriously, novelist Herman Wouk created a highly individual and yet universal character, and Natalie simply WAS her. The scriptwriter did a marvelous job of condensing a long and elaborate book into an entertaining and moving photo-play--and kept enough of Wouk's dialog from the novel to give flashes of the book's insight and sophistication. All of the actors must have read the book, for they dig into their roles far deeper than the screenplay does. Not a great movie, but until someone makes a better one, it stands alone as Hollywood's most honest and endearing tribute to--The Nice Girl.