Ce monde à part

Vincent Sherman directed this long but interesting drama that stars Paul Newman as Anthony Judson Lawrence, an ambitious young man in Philadelphia society who rises from construction foreman to law school student with a good offer of employment that is interrupted by the Korean War, which sees Tony distinguish himself even more. After his discharge, he resumes his successful career, finding love along the way. There is a sad development when old friend(and fellow war veteran) 'Chet'(played by Robert Vaughn) has fallen on hard times, now an alcoholic accused of murder, and wanting Anthony to defend him, despite his inexperience... Despite the potential simple soap opera story, this is a well acted and written film that is surprisingly interesting. Glossy but entertaining.

The Young Philadelphians had all the ingredients to become the most horrid American melodrama, in the worst 1950's style. Instead, it was cooked up to be one of the fine 1950's movies.

William Lawrence III (Adam West) was not, indeed could not be, the father of young Tony (Paul Newman). After William kills himself in a horrible car crash (suicide?), his Mother wants Kate (Diane Brewster) to give up the family name for her and her baby boy. Because she could reveal the reason for this horrid condition (Gasp! Is it possible that the marriage was not consummated because William the third could only "do it" with boys?), Kate secures the Lawrence name, if not the Lawrence money, to give Anthony a chance in Philadelphia society. Can you see the most awful melodrama developing?

Well, it turns out that further developments provide us with a balanced mix of humor, cynicism, drama, real emotions. This movie shows first rate acting and directing, and superb black and white photography. It gives us a glimpse of what appeared to be a pretty gruesome society scene. Apart from the unlikely happy end (I'm not giving too much away by saying this about an American movie of the 1950's), this is an interesting incursion in the period, with a healthy dose of social realism. As a bonus, we get to see Paul Newman out of his shirt in a steamy scene with a frustrated woman married with Newman's much older boss, a delightful Billy Burke in one of her last screen appearances, a tortured Adam West trying to deal with... (Oh! no, I can't say it), and a whole cast of believable, if not overly subtle, characters. We even get a bit of courtroom drama, à la Perry Mason.

This is an excellent way to spend a lazy Sunday afternoon...

... by not marrying his father in the first place. Let me explain.

Kate Judson (Diane Brewster) marries socialite Bill Lawrence (Adam West... yes THAT Adam West). Kate marries him because her mother wants the marriage into high society. But apparently, Bill is gay. The film comes as close to saying that as you could in 1959. He runs out of the honeymoon suite. Kate runs to the man she really loves, construction company owner Mike Flanagan (Brian Keith). When she returns home later that night she learns Bill has died in an accident. Nine months later a son is born. But the mother in law has PIs all over the place and tells Kate she knows this is not her grandson and offers to pay her off as long as she and the baby relinquish the Lawrence name. Kate refuses, because the Lawrence name will open doors for her son some day. She also refuses to marry the father whom she loves, because "people will talk" and possibly figure out his real parentage.

So the son grows up to be Paul Newman, Mike Flanagan overpays him to work at his flourishing construction business, and as he grows into manhood he is now rubbing elbows with some of the most insufferable snobs ever committed to celluloid. They lie. They cheat. They steal. They mess with him professionally and romantically. He tries to keep his honor, but they don't make it easy for him.

If Kate had married Mike in the beginning she would have had all of the money she ever needed because Mike was very successful, avoided both her and her son's suffering, and yes, those snobs would have had nothing to do with her family, but after watching this film that seems like a plus.

Billie Burke as a widow worth a billion dollars in today's money is hilarious. She ventures out on Christmas just to make sure her dog is mentioned in her will. Robert Vaughn is a standout as a blue blood friend of Newman's character who drinks heavily to deal with the hypocrisy of his relatives.

It has commonly been said that full-fledged soap opera can never be a real work of art, but this excellent film proves to be a glorious exception to that rule. Director Vincent Sherman's luminous film adaptation of author Richard Powell's best-seller THE PHILADELPHIANS manages to tell the story of at least two generations in a single picture without ever feeling cramped, forced, or haphazard. The film's story line that begins as a romance, evolves into an underdog business story, and ends as a courtroom drama, and Sherman impressively manages to take all of these various story threads and create a completely coherent motion picture that never feels disjointed or episodic. Sherman also keeps things movie at a remarkably brisk pace – the film never feels even half as long as it's 136-minute runtime.

The entire cast turns in superlative work, with Newman being particular well-suited to his role as a good-natured-but-flawed lawyer (he would return to this type of role with even better results in the 1982 classic THE VERDICT). Barbara Rush, Brian Keith, Dianne Brewster, Billie Burke, and Robert Vaughn are all excellent, and Alexis Smith is particularly memorable as sexy socialite. Speaking of sex, the film retains a surprisingly sensual aura throughout, which helps to keep it from aging for modern audiences. Inexplicably forgotten by many classic film fans, THE YOUNG PHILADELPHIANS is a moving, compelling motion picture that holds up remarkably well nearly fifty years after it's original release.

Absolutely agree about the high quality of Oscar-nominee Robert Vaughn's performance. It must be his finest movie moment. And Barbara Rush does herself proud, too. Film's reality holds up even 40 years later; one of the era's more credible dramatizations.