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
- पुरस्कार
- कुल 1 जीत
- Foreman
- (as Horace MacMahon)
- Bellevue Hospital Nurse
- (बिना क्रेडिट के)
- Expectant Father
- (बिना क्रेडिट के)
- Eckman
- (बिना क्रेडिट के)
- Office Girl
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
Look for it on AMC and Turner Classic.
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.
Shelton wasn't really a bad actor but MGM dropped him not long after the film was completed. But Lana shines as the sweet and wholesome wife who stands by her man during hard times. Shelton gets to spout off some dialogue that comes from Dalton Trumbo's slant on the Depression-era tactics and rules of the workplace.
Obviously, one of Trumbo's lesser scripts has been turned into a film that is more of a programmer than an A-film, despite a cast that includes Gene Lockhart, Grant Mitchell, Henry Armetta and Jonathan Hale. Prices mentioned for wages, rent and furniture are hilarious by today's standards.
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.
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.
क्या आपको पता है
- ट्रिवियाCinematographer John F. Seitz took over as director of photography when Karl Freund fell ill.
- गूफ़When 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.
- कनेक्शनFeatured in Red Hollywood (1996)
- साउंडट्रैकSidewalks 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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विवरण
बॉक्स ऑफ़िस
- बजट
- $3,62,000(अनुमानित)
- चलने की अवधि1 घंटा 20 मिनट
- रंग
- पक्ष अनुपात
- 1.37 : 1