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We Who Are Young

  • 1940
  • Approved
  • 1 घं 20 मि
IMDb रेटिंग
6.0/10
402
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
DramaMysteryRomance

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
    402
    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

    6.0402
    1
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    फ़ीचर्ड समीक्षाएं

    curtis-8

    Bizarre version of 1940's "normal"

    "We Who Are Young" is the odd kind of movie that David Lynch, the Cohen Brothers, and Ed Wood Jr. must have adored as young men. It's an odd, stilted bit of didactic goofiness about how tough it is to get ahead in a stifling capitalistic society. It follows a young couple, a pre-stardom Lana Turner and John Shelton, as they invariably make the wrong financial moves during the pre-WW II Depression era. They both work at the same office-an accounting firm run like a factory, lunch-period buzzers and all-until it is discovered that they are married. No married women are allowed by company policy, and she is fired (but not before receiving lots of stern advice on living within one's means by the robotic department manager). And this happens just after they buy over $200 worth of new furniture on his $25 a week salary, now their only income. Then she gets pregnant. Then HE gets fired (and has an absolutely histrionic girly-fit, yelling at his boss that `if this affects my wife or child in any way, I'll come back here and just kill you! I'll just kill you!'). And it goes on. What makes the film so special, besides the unintentionally hilarious dialogue, is the way the actors will periodically stare into space as we hear their poetic thoughts overdubbed-very, VERY Ed Wood (and not unlike the similarly awkward thought-balloon overdubbing in Lynch's version of `Dune'). But the gooney monologues are certainly not constrained to the characters' inner world; they also take the occasion to look straight into the camera and actually speak their thoughts at length, even though other characters may be right next to them. How to react to this kind of strangeness is left entirely up to you, the viewer, because the film is so ineptly made you can have no idea whether it's trying to be serious or comedic. I don't want to spoil it for you, but let's just say that if you're a fan of the Coen Brothers' `The Hudsucker Proxy', the less violent moments of Lynch films like `Blue Velvet', Wood's `Glen or Glenda' and the like, you will enjoy seeing their genesis in this nutty bit of 1940's agitprop-pop.

    Look for it on AMC and Turner Classic.
    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.
    Doylenf

    Obviously, one of Dalton Trumbo's lesser efforts...

    It's easy to see that MGM was grooming LANA TURNER for stardom around this time. She has the pivotal role of a young wife whose husband has a hard time keeping his job under the strict rules of employer GENE LOCKHART. JOHN SHELTON is the husband who ends up desperately looking for work while his wife is expecting a baby and they have had to have all their furniture repossessed.

    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.
    5bkoganbing

    Young love in the Great Depression

    The 'young' in the title of this film are a newlywed couple played by the rising Lana Turner and leveling John Shelton. We Who Are Young tells of the trials and travails of young married folk during the 30s.

    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.
    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.

    इस तरह के और

    Slightly Dangerous
    6.7
    Slightly Dangerous
    Armored Car Robbery
    7.0
    Armored Car Robbery
    The Password Is Courage
    6.8
    The Password Is Courage
    Somewhere I'll Find You
    6.1
    Somewhere I'll Find You
    Marriage Is a Private Affair
    5.9
    Marriage Is a Private Affair
    Week-End at the Waldorf
    6.6
    Week-End at the Waldorf
    Ninotchka
    7.8
    Ninotchka
    The Feminine Touch
    6.4
    The Feminine Touch
    The Ex-Mrs. Bradford
    6.9
    The Ex-Mrs. Bradford
    Johnny Eager
    7.0
    Johnny Eager
    The Casino Murder Case
    6.1
    The Casino Murder Case
    Homecoming
    6.8
    Homecoming

    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
    साइन इन करें

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    बदलाव करें
    • रिलीज़ की तारीख़
      • 19 जुलाई 1940 (यूनाइटेड स्टेट्स)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड स्टेट्स
    • भाषा
      • अंग्रेज़ी
    • इस रूप में भी जाना जाता है
      • I Do
    • फ़िल्माने की जगहें
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., कल्वर सिटी, कैलिफोर्निया, यूएसए(Studio)
    • उत्पादन कंपनी
      • Metro-Goldwyn-Mayer (MGM)
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    Lana Turner and John Shelton in We Who Are Young (1940)
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    What is the English language plot outline for We Who Are Young (1940)?
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