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We Who Are Young

  • 1940
  • Approved
  • 1 घं 20 मि
IMDb रेटिंग
6.0/10
407
आपकी रेटिंग
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.
trailer प्ले करें2:22
1 वीडियो
35 फ़ोटो
ड्रामारहस्यरोमांस

अपनी भाषा में प्लॉट जोड़ेंTwo 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... सभी पढ़ेंTwo 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... सभी पढ़ेंTwo 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... सभी पढ़ें

  • निर्देशक
    • Harold S. Bucquet
  • लेखक
    • Dalton Trumbo
  • स्टार
    • Lana Turner
    • John Shelton
    • Gene Lockhart
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    6.0/10
    407
    आपकी रेटिंग
    • निर्देशक
      • Harold S. Bucquet
    • लेखक
      • Dalton Trumbo
    • स्टार
      • Lana Turner
      • John Shelton
      • Gene Lockhart
    • 14यूज़र समीक्षाएं
    • 1आलोचक समीक्षा
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • कुल 1 जीत

    वीडियो1

    Official Trailer
    Trailer 2:22
    Official Trailer

    फ़ोटो35

    पोस्टर देखें
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    पोस्टर देखें

    टॉप कलाकार54

    बदलाव करें
    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
    • (काटे गए सीन)
    Dorothy Adams
    Dorothy Adams
    • Bellevue Hospital Nurse
    • (बिना क्रेडिट के)
    Ernie Alexander
    • Expectant Father
    • (बिना क्रेडिट के)
    Charles Arnt
    Charles Arnt
    • Eckman
    • (बिना क्रेडिट के)
    Jane Barnes
    Jane Barnes
    • Office Girl
    • (बिना क्रेडिट के)
    • निर्देशक
      • Harold S. Bucquet
    • लेखक
      • Dalton Trumbo
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं14

    6.0407
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    फ़ीचर्ड समीक्षाएं

    4gvb0907

    Turner Rises Above the Material

    This is a pretty hackneyed melodrama, obviously influenced by "The Crowd" though far inferior. Turner and Shelton play financially strapped newlyweds facing the perils of the Depression. The various crises and the final resolution are predictable and all of the characters are crude stereotypes, especially Gene Lockhart's tyrannical Mr Beamis. Shelton's performance is weak (he was dropped by MGM after this film), but Turner rises above the material and shows she's a star in the making.
    7kacarrol-783-577285

    Sweet Movie

    If you don't like classics in general and are not sentimental, then don't watch. However, I think this movies' appeal is to those that enjoy watching a simple little sentimental 40's period movie without references to gangsters, WWII, and want to be a bit soapy. Turner and Shelton were both very young and good looking. Shelton's performance was good for that particular part- I don't think there was anything wrong with it. It is unfair to compare him to Turner, since she went on to become one of Hollywood's greatest actors/actresses. The predicament Shelton's character was in ...would make many a man result to tears and theatrics, even today.
    6blanche-2

    All this for $26.50 a week

    John Shelton and Lana Turner star are "We Who Are Young," a 1940 film also starring Gene Lockhart. Turner and Shelton are newlyweds who work in the same office; she's fired as soon as the boss (Lockhart) finds out. Married women can't work there; it seems they're taking the jobs away from the more deserving men, and after all, a husband should be able to support his wife. I don't know about the work rule, but it was the prevailing attitude that if your wife worked, you couldn't support her. The couple has trouble meeting their furniture payments, so hubby takes a loan. When he can't make those payments, his salary his attached. His boss fires him for that; you can't be an upstanding citizen if your salary is attached. Meanwhile, his out of work wife becomes pregnant, the furniture is gone, his job is gone, and he can't find another one.

    On one hand, it shows you how times have changed in the workplace for the better at least as far as employment laws; on the other hand, at least the Lockhart character has qualms of conscience, which no employer in this day and age would have. Firing at Christmas doesn't bother them, nor does firing someone without notice and having security escort them out, lest they steal a paper clip, nor does spending $250,000 to have their offices redecorated, only to tell employees there's no money for even a cost of living raise.

    John Shelton chews up the scenery as the husband. He's not particularly good, and though she doesn't get to emote like Shelton, MGM decided Lana Turner was going to be a star. She's very sweet, beautiful and fragile appearing here. Shelton I guess went into the service and lost what little grooming the studio was giving him. It looks like he quit show business in 1953.

    Extremely dated, not great, interesting for Turner and a look at the workplace in the 1939-41 era.
    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.
    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

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Cinematographer John F. Seitz took over as director of photography when Karl Freund fell ill.
    • गूफ़
      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..
    • भाव

      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.

    • कनेक्शन
      Featured in Red Hollywood (1996)
    • साउंडट्रैक
      Sidewalks of New York
      (1894) (uncredited)

      Music by Charles Lawlor

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

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
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    बदलाव करें
    • रिलीज़ की तारीख़
      • 19 जुलाई 1940 (यूनाइटेड स्टेट्स)
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      • यूनाइटेड स्टेट्स
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      • I Do
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      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., कल्वर सिटी, कैलिफोर्निया, यूएसए(Studio)
    • उत्पादन कंपनी
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      • 1 घं 20 मि(80 min)
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