These Wilder Years

Not quite a weeper, These Wilder Years is one of those small-scale, thoughtful dramas that rarely if ever are made nowadays. It's about a steel tycoon (James Cagney) who, in mid-life crisis, tries to find the son he abandoned, along with the mother, twenty years earlier. Used to getting his own way by means of money and mouthpieces, he runs into the head of a home for what once were called "wayward girls" (Barbara Stanwyck). She refuses to bend to his charm, his money, or, finally, his legal talent (Walter Pidgeon).

The story -- possibly more resonant today than when it was released -- takes some unexpected (not to say far-fetched) turns; it's sentimental, all right, but stays on the dry side of mawkish. Its main problem is one of audience expectations. Starring two of the most powerful actors in the history of movies -- Stanwyck and Cagney -- it keeps them at half-throttle throughout. Of course they acquit themselves admirably: they're both seasoned troupers with a wide range. But the confrontational fireworks we hope for and expect never quite come. Nonetheless, These Wilder Years remains a solid and fairly credible film.

It is surprising that it took so long for someone to put Barbara Stanwyck and James Cagney together in a film. This is a much different project, though, than what they may have done together twenty years earlier. Nonetheless, it is fun to watch them pair up for These Wilder Years at MGM.

The performances of the leads are surprisingly tender and subdued. This is quite significant considering that Miss Stanwyck is often given to toughness and that Mr. Cagney has a propensity for ham. But the script (about adoption) calls for a different approach, and fortunately, the director worked with the stars to play the characters instead of themselves; instead of giving what audiences have come to expect from them.

This is by far from being a masterpiece; yet I don't consider it a yawn-fest as other reviewers describe. Yes, it's a melodrama. Yes, it certainly reeks of Hollywood's lobotomized treatment of illegitimate pregnancy and the adoption experience. But it is at least thoughtful and empathetic in its approach.

I would technically rate this film 5 out of 10; but because I've seen it several times and will certainly watch it again when on rotation on TCM, I'm bumping it up 2 stars to a 7. When what is in actuality an average movie seems to pop up on some network at regular intervals, it signals there's enough substance and likeability factor intrinsic to warrant repeated airings.

It's fun watching Stanwyck and Cagney together, and it's especially pleasant to see Cagney in a role wherein he doesn't chew up the scenery. I wouldn't rush to a theater to see it, but I respect it enough to watch it again.

Mainly for diehard Cagney fans, and for those who will watch anything in which Stanwyck is part of the cast.

I first saw this film about 20 years ago on Turner Classic Movies and I was far from impressed--so much so that I long resisted seeing it again. However, on a lark, I decided to see it again--especially because I barely remembered the film--just that I didn't particularly like it. In hindsight, I am thrilled that I saw it again since it was far better than I'd remembered plus there were some truly wonderful moments.

The film begins with a very rich and successful James Cagney announcing to his board of directors that he was taking an extended leave of absence and wouldn't tell them why. It turns out that 20 years earlier, Cagney had fathered a child out of wedlock and he was trying to reconnect with this lost child. Naturally the adoption agency was not about to just give him this information and eventually Cagney unleashes lawyers and exerts his influences to try to force the issue.

At the same time, there is a plot involving a nice young girl who Cagney meets who is also pregnant and without resources, so it looks like she'll need to give up her baby. Considering the very obvious parallel, it's not at all surprising where this all leads, but it is still very emotionally satisfying to watch. In addition, there is a great scene at a bowling alley that is full of depth and emotion you often don't find in a Cagney film.

A highly unusual and soap opera-like film that still manages to satisfy despite a bit of predictability. It was well worth a look--I'm glad I did again.

These Wilder Years marks the only teaming of James Cagney and Barbara Stanwyck. It would have been nice if they had been teamed for a better film. Can't you just see Stanwyck in Virginia Mayo's part in White Heat?

Still These Wilder Years is not a bad film, high class soap opera the kind of stuff that became popular on television in the Eighties.

James Cagney is a millionaire industrialist looking for the son whose paternity he denied when he was sowing his wild oats. Barbara Stanwyck runs the home for unwed mothers where the girl who Cagney was involved with came and gave up her kid for adoption.

Cagney has the resources to get his way, but Stanwyck with the confidentiality of adoption records has the law on her side. Or has she?

Walter Pigeon plays Cagney's attorney and Don Dubbins, a young actor whose career Cagney was pushing plays the son and both do well. Look for bit parts from Tom {BillyJack} Laughlin, Michael Landon, and Dean Jones all at the start of their careers.

Cagney and Stanwyck are both players with an edge to their parts. It's like they've been taken down into second gear for this film. Still it's a pleasant enough movie. Look for young Betty Lou Keim who is a current unwed mother in Stanwyck's charge. Her scenes with Cagney are quite poignant.