Dodici lo chiamano papà

Once again, this is a movie in which the original is better than the re-make, even though the latter was a decent, popular film.

What the two films offered, however, was another stark contrast in how the culture (and Hollywood) has changed. In this original version, unlike today's films: 1 - The father rules the roost; 2 - the kids are nice kids. They actually behave and are respectful; 3 - The general atmosphere is a far more kind and gentle one than scene in today's "family films."

In other words, this is a real throwback to an era of nice family films, when they really were truly that. It reminded me of "Life With Father." If you liked that film, you'd enjoy this.

Clifton Webb was fun to watch as the strict father. Myrna Loy's role as the mother wasn't as much as one would expect. Perhaps if the title hadn't already been taken, this would have been more aptly named "Life With Father" since Loy's part was so minor. The kids were pretty wholesome and believable for that era except Jeanne Crain was far too old to be playing a 17-year-old.

If the film could be described in one word, it would be CHARM. It doesn't provide a lot of big laughs but it's pleasant, and at 86 minutes doesn't overstay its welcome.

I have seen the 1950 version of "Cheaper By the Dozen" perhaps a dozen times! It is a delightful glimpse of influential family life in the 1920's.

There are too many children, but this movie is funny because of Clifton Webb, who was a master of comedy in his detached, upper crust style, as in other movies such as another classic, "Mr. Belvedere." Seems like "we" have gotten too sophisticated these days to appreciate the innocence of movies like this one. There was laughter, a little love-interest, problems with kids, certainly sadness, and coping with so many children. But, it is appealing because there is no blood and guts, no explicit sex scenes and no foul language. This movie is a classic!

Clifton Webb is a joy in this delightful film, based on a true story, of an eccentric genius and his twelve children. The color is gorgeous, and the interior design of the family's New Jersey home ought to have won an Oscar. Myrna Loy is solid as Webb's patient, loving wife, and Jeanne Crain energetic as his spunky daughter. There isn't much story here, as events unfold naturally, as they do in life, and one isn't always sure where the film is going. Early twentieth century America is captured in all its overstuffed, art nouveau-ish glory, as the film's plot, irregular, often going off on odd tangents, perfectly mimics that style of design so popular at the time. The movie is really about the end of an era, as we see the very tail end of the Gilded Age turning into the roaring twenties, and with it the death of the old paternalism, at times stiff, occasionally charming, perfectly embodied by Mr. Webb; and there is an awesome sadness at the film's conclusion, as we see a man and his era pass into history.

If you want a treat, watch this movie. Watch it with your kids, despite the movie being made 50 years ago I bet they enjoy it. It is truly Clifton Webb ( as Mr. Gilbreth ) at his best. A shame he never won an Academy Award despite three nominations in his career. You can't help but enjoy the High School dance scenes. Edgar Buchanan's brief scenes as the family physician are also a treat. It's 85 minutes you won't regret spending.

Amusing family drama, set in the 1920's, and immensely popular on first release. No wonder, since the movie presents an idealized family portrait that goes humorously beyond the usual two or three kids. Here, of course, it's a dozen. With that many offspring, all kinds of kid hi- jinks are possible to fill out the screenplay. Nonetheless, it's the prickly Webb at the height of his popularity who dominates, along with a bemused Loy looking on. There's really no plot, just a series of ordinary family episodes centering around Mom, Dad, and the two eldest girls (Crain & Bates).

Still, there is something of a socially conservative subtext behind the scattered goings-on. Importantly, it's one that doesn't harm the generally humorous results. Take the way the family-planning lady (Natwick) is gently mocked when Dad parades his army of offspring before her. This was, after all, back in the day when contestants on quiz shows with bigger families got bigger applause. Or take the prom scene where young Tom (Hill) pointedly affirms to teen-age Ann (Crain) what her dad has already explained to her—namely, that boys only marry "good girls". This scene, however, appears aimed specifically at the audience and is a bit awkward for such an otherwise smooth production.

Despite the one scene, this is not an in-your-face subtext, but it is present and quite consonant with the times. After all, idealized families were not unusual for either movies or TV of the 50's, unlike today's often ribald variety. However, I am curious how in such a sunny movie the unexpectedly dark development suddenly occurs near the end. I guess its inclusion was to maintain the facts of the real life family on which the movie is based. At the same time, the development prevents things from getting too sentimental, always a pitfall for movies like this. Nonetheless, it is understandably passed over quickly and at a distance.

All in all, the movie remains warmly amusing, thanks mainly to another of Webb's prickly but likable characters. Then too, the kids are cute without being cutesy; at the same time, the lovely Crain looks a little long in the tooth to be playing a teenager. However, I'm still wondering how Mom can bear all of twelve kids and still look like Myrna Loy. Oh well, just another of Hollywood's enduring mysteries.