The Doctor and the Girl

Somehow this picture reminds me "The Citadel" played by Robert Donat, here Glenn Ford recently formed Doctor Michael Corday on Harvard starts under the his father's wings and linkages to be a successful doctor on New York, Corday has advises by his possessive father that all patients is just a cold number, he must doesn't involved with them in any way, just keeping ahead to reach at the top through his connections, when he meets the earnest and proud Dr. Norton (Bruce Bennett) his director at hospital, Norton realizes that Dr. Corday actually is a careerist and try by any means invites Norton for the closest circle around his influential father to get a promotion, however Norton who is a hardened Doctor denied such odd offer, later Dr. Corday after has dealt with harsh way a young girl Evelyn (Janet Leigh) with a critical illness at lungs and she needs a hard surgery, he felt that should apologize to her, then grows up an affective feelings to the poor girl, Corday perceiving that Evelyn has a dismal chance to survives on surgery, then he asking for his father's closest mate Dr. Francis a very special favor, takes over the trick surgery, the skillful Doctor made a fine job, saving the girl, knowing all about his father try out sets apart the couple, Dr. Corday ends up marry with Evelyn and sets up a humble clinic to assist poor custumers at 3th avenue, "The Doctor and the girl" takes a valuable message for those medicine men who pursue a fancy career driven their efforts to upper class only, blinding yours eyes to least privileged people awesome !!

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First watch: 2020 / How many: 1 / Source: DVD / Rating: 8

I just wanted to say that the above reviewer is a bit misinformed regarding the history of films about physicians, particularly in the '30s. There was no shortage of movies with doctors as the central character in the early sound era, and some of them are "Men in White," "Internes Can't Take Money," "The Citadel," "Strange Interlude," "Symphony of Six Million," "Arrowsmith," "Yellow Jack," "Doctor X" "The Story of Louis Pasteur," just to name a few off the top of my head, without doing any research. Paramount's "Internes Can't Take Money," starring Barbara Stanwyck and Joel McCrea, was the first movie to feature the character of Dr. James Kildare, created by author Max Brand. I'm sure that the studio's executives rued the fact that they didn't have the foresight to feature the sympathetic young doctor in a series, which is what M-G-M did, starring Lew Ayres as the compassionate and crusading Dr. Jimmy Kildare. That series, by the way, started in the '30s with "Young Dr. Kildare" in 1938, followed by "Calling Dr. Kildare" and "The Secret of Dr. Kildare" in 1939. So, you see, there were quite a few doctors gracing movie screens throughout the 1930s.

Very few films were made before the 1970s with doctors and medicine as the main subjects. Hollywood had made the jump to sound movies in 1929, but the medical profession wasn't much in the public's eye – at least not in the realm of entertainment. Two films in the 1930s were mainly about doctors and medicine – "One Man's Journey," in 1933, and "Magnificent Obsession," in 1935. Both films had major stars of the time and were successes, but their plots were very serious. Film historians have said that Hollywood thought the public was too wary of somber subjects. People living through the Great Depression, the Dust Bowl and World War II needed more light-hearted entertainment. Having fun helped take their minds off their troubles for a while. So, comedy, romance, mystery and musicals best fit the bill for the film industry at the time. But, with the end of WW II, movie interests began to expand.

One of the very first films focused on doctors and medicine was this 1949 MGM movie, "The Doctor and the Girl." It may have piqued the interest in other quarters for more such stories. A British film, "White Corridors," came out in 1951, and in 1954, a remake of "Magnificent Obsession" scored another box office hit. Interest in medical heroes and plots continued to grow. A 1961 movie, "The Young Doctors," had a huge cast. That same year, the first popular daytime TV medical drama (aka, soap opera) aired. "Dr. Kildare" ran through 1966. In 1962, "General Hospital" premiered. In 2013, the Guinness Book of World Records lists it as the longest-running American soap, and it's still going strong. Only two other TV series have gone longer, but both are now off the air. By the 1970s, the medical field began to emerge as a major sub-genre for films and TV programs. Shows ranged from drama to comedy, romance to crime and mystery, war to sci-fi, and even horror scripts.

With new TV programs and films about doctors and medicine today, the very earliest movies still stand out for their excellent stories and performances by top casts. "The Doctor and the Girl" is such a film. The plot may seem to be so familiar today, but it wasn't at the time. Indeed, it was a leader in showing conflict between "high brow" medicine and that practiced for common folks. The performances by the stars are outstanding – Glenn Ford, Janet Leigh, Charles Coburn, Gloria De Haven, Bruce Bennett, and Basil Ruysdael. This is a movie worthy of any film library.

Even though it's reminiscent of pure soap opera, there is something legitimate here to keep you watching. In this case, it's the life and death subject matter and the "doctor's" decision to practice medicine in the poor part of town that keep the film vibrant. Parts are played well by all actors, allowing the plotline to be preeminent, as it should be.

We have a cohesive narrative here produced sensibly and wisely -- that reins it in, and takes it out of the realm of soap opera. This movie is "thinking" entertainment and is well worth watching.

Other reviewers of The Doctor and the Girl have rightfully praised its excellent treatment of a plot-line that at first glance seems familiar, even hackneyed. Of course, the sterling performances of everybody on screen are a huge asset to the picture. But for me, the gold medal has to be given to Curtis Bernhardt's expert handling of Theodore Reeves' adroit screenplay.

It's a tightly-paced film, with very few exteriors. But Bernhardt's brilliant interiors give superb depth to each scene and each character, from stern Charles Coburn to sylphlike Janet Leigh to earnest Bruce Bennett (in a great supporting role as an unassuming ENT specialist). The director keeps everybody's performance low-key and believable. In her first scenes, sickly Janet Leigh seems to be wearing no makeup at all. And even Charles Coburn isn't allowed to milk his scenes to the limit.

A master of lighting and camera angles, Bernhardt was one of the numerous excellent filmmakers in exile from Nazi Germany. His filmography is a strong one, studded with many entertaining films of the forties and fifties. Conflict, starring a quintessential Humphrey Bogart, and My Reputation with Barbara Stanwyck at her best, are two goodies that come to mind. And let's not forget Possessed, highlighted by Joan Crawford's hallucinatory performance.

But unlike some other exiled directors - such as Wilder, Lubitsch, Lang and Sirk - Curtis Bernhardt hasn't got any universally acclaimed masterpieces on his résumé, so he is often neglected by movie historians. But he was certainly a talent to reckon with, and any of his pictures deserve a careful look.

P.S. I totally concur with EliotTempleton's comments about Hollywood having a very long history of movies with medical themes. In fact Theodore Reeves, the main writer for this film, was the author of many medical screenplays dating back to the 1930s.