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We Who Are Young

  • 1940
  • Approved
  • 1h 20min
VALUTAZIONE IMDb
6,0/10
402
LA TUA VALUTAZIONE
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.
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Aggiungi una trama nella tua linguaTwo 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... Leggi tuttoTwo 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... Leggi tuttoTwo 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... Leggi tutto

  • Regia
    • Harold S. Bucquet
  • Sceneggiatura
    • Dalton Trumbo
  • Star
    • Lana Turner
    • John Shelton
    • Gene Lockhart
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,0/10
    402
    LA TUA VALUTAZIONE
    • Regia
      • Harold S. Bucquet
    • Sceneggiatura
      • Dalton Trumbo
    • Star
      • Lana Turner
      • John Shelton
      • Gene Lockhart
    • 14Recensioni degli utenti
    • 1Recensione della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 vittoria in totale

    Video1

    Official Trailer
    Trailer 2:22
    Official Trailer

    Foto35

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    Interpreti principali54

    Modifica
    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
    • (scene tagliate)
    Dorothy Adams
    Dorothy Adams
    • Bellevue Hospital Nurse
    • (non citato nei titoli originali)
    Ernie Alexander
    • Expectant Father
    • (non citato nei titoli originali)
    Charles Arnt
    Charles Arnt
    • Eckman
    • (non citato nei titoli originali)
    Jane Barnes
    Jane Barnes
    • Office Girl
    • (non citato nei titoli originali)
    • Regia
      • Harold S. Bucquet
    • Sceneggiatura
      • Dalton Trumbo
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti14

    6,0402
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    Recensioni in evidenza

    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.
    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.
    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.
    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.
    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.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Cinematographer John F. Seitz took over as director of photography when Karl Freund fell ill.
    • Blooper
      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..
    • Citazioni

      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.

    • Connessioni
      Featured in Red Hollywood (1996)
    • Colonne sonore
      Sidewalks 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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    Dettagli

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    • Data di uscita
      • 19 luglio 1940 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • I Do
    • Luoghi delle riprese
      • Metro-Goldwyn-Mayer Studios - 10202 W. Washington Blvd., Culver City, California, Stati Uniti(Studio)
    • Azienda produttrice
      • Metro-Goldwyn-Mayer (MGM)
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

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    • Budget
      • 362.000 USD (previsto)
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 20 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.37 : 1

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