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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.

The two old pros, Cagney and Stanwyck are the reason to watch this one. Neither chews the scenery; there's no romantic subplot between them, yet their scenes together are wonderful. Stanwyck shows no femme fatal sexiness or been there done that humor. She's just a nice, hard working person, and when confronted with Cagney's type A "I'm used to getting what I want", she sweetly deflects it instead of the fireworks you'd normally expect from a Stanwyck character. For his part, Cagney drops his tough guy image and when faced with the pain his past misdeeds have caused, makes no attempt to evade responsibility.

They're on opposite sides, yet show a respect for each other.

No motivation is shown for Bradford's sudden desire to drop everything to find the son he abandoned 20 years before. It might have been better if a chance meeting with Betty Lou Keim's abandoned, pregnant teen had served as the spark. Clearly, she reminds him of the girl he abandoned.

The other major flaw, is that being in his 50s, it would have been more realistic if Bradford's abandonment of his newborn son been 30 years before instead of 20. The guy that plays his son (Don Dubbins) looks and acts much older than a 20 year old. Also, 20 years before, Bradford would have been in his mid 30s, way too old to be a callow college boy. And is 20 years enough time to build such a large business? I also can't help wishing they'd cast someone who looked like Cagney to play Cagney's long lost son, like Richard Jaeckel.

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.

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.

I thoroughly enjoyed watching Cagney in this movie. I must admit, after viewing a lot of his films I've grown accustomed to his famous tough-guy image. But, after seeing "These Wilder Years" I was a little surprised to see a softer, gentler Cagney. It's a pleasant contrast in light of his previous roles. Cagney is a splendid and versatile actor and I've always relished seeing him play comedic and dramatic parts as well as gangster/hoodlum roles. He's simply irresistable to watch on screen and I'm always interested to see how he's going to react. You never know when he's going to "sprinkle the goodies" in a scene. He is always good to his audience. In "These Wilder Years", Cagney plays a successful businessman in search of a son that was put up for adoption twenty years ago. Even though Cagney's character pretty much has everything he wants, there's just something missing and he has to fulfull this part of his life. I don't want to give away what happens in the movie but the interactions between Barbara Stanwyck and Betty Lou Keim are compelling and at times, very touching.

Although, I wouldn't say this is Oscar material and there are plenty of good movies out there, this is one definitely worth seeing -- Cagney fan or not :)