L'affascinante bugiardo

This is a likeable little comedy/drama. It has a good cast, and a fairly interesting plot. One thing, though. The movie jacket for "As Young As You Feel" has a large photo of Marilyn Monroe and her name is printed on the top. Don't let that fool you, though. Marilyn only has a small part in this movie, portraying a secretary, although she makes the most of her scenes.

John R. Hodges (Monty Woolley) is a printer at ACME Printing. He receives notice that he must retire because he is age 65. The rule comes from Consolidated Motors, the parent company of a vast conglomerate that owns ACME. John takes great pride in his job and enjoys the dignity that comes from doing good work. He decides on an unorthodox strategy to get his job back.

"As Young As You Feel" is a comedy, but it contains serious messages about age-related issues and the unintended effects of technology and modern production methods. More than sixty years later, those viewpoints--as expressed by John--are just as relevant today.

But the messages do not sidetrack the fun. Monty Woolley plays John with a twinkle in his eye. His positivity influences the lives of others (on a grand scale), except maybe for a couple of annoying members of his own family.

One notable aspect of this film is that is adapted from a story by Paddy Chayefsky, who won three Oscars for screen writing. After his service in the war, Chayefsky worked in his uncle's printshop--a connection with this story.

Marilyn Monroe has a small, but well-acted, part in the film as secretary to the executive who runs ACME. Her larger roles were yet to come. I enjoyed seeing Jean Peters and Constance Bennett as well. And there's a small part played by a very young Russ Tamblyn.

This film is a feel-good story that focuses on the subject of human dignity. It is light-hearted and written to entertain.

Though released on DVD as part of Fox's "Marilyn Monroe Collection", her role – playing the spirited, though obviously dumb, secretary at a printing factory headed by Albert Dekker – is actually very brief. The film is an amusing, Capraesque comedy about 65 year-old printer Monty Woolley who refuses to accept the age imposition which sends him into retirement. The plot involves him impersonating the President of the corporation which owns the factory, paying them an unexpected visit and making a speech in which he retracts the current policy – thus enabling Woolley the printer to get back his job! Complications arise when David Wayne (fiancé of Woolley's niece Jean Peters), who also works at the factory, recognizes him – but also with the attentions given Woolley by Dekker's neglected wife Constance Bennett. The film features a solid supporting cast which includes Allyn Joslyn (as Woolley's son), Thelma Ritter (as his wife, who's proud of her Brooklyn origins), Clinton Sundberg (as Wayne's ambitious colleague at the plant who could blow Woolley's cover at any moment), Minor Watson (as the real President of the conglomerate) and a young Russ Tamblyn (playing Dekker and Bennett's confused son). It's a pleasant enough diversion – adapted by Lamar Trotti from a Paddy Chayefsky(!) story – given Fox's typically polished (if fluffy) treatment.

Monty Woolley's film career has not had as much discussion as it deserves. The one time head of Yale University's Drama Department, and close personal friend (possibly lover) of Cole Porter, had been involved in Broadway for many years. He was, for example, in the original cast of the Rodgers and Hart Musical ON YOUR TOES, as the Russian Ballet impresario who sings TOO GOOD FOR THE AVERAGE MAN. He also made many film appearances in the 1930s, including the irascible, but eventually dumbfounded French judge in Mitchell Leisin's MIDNIGHT. But his fame would come when he was starred in the original production of THE MAN WHO CAME TO DINNER, and subsequently was lucky enough to repeat his performance in the film version. Other film starring parts were his as well, such as THE PIED PIPER, and his pair of films co-starring Gracie Fields, HOLY MATRIMONY and MOLLY AND ME. But more frequently he ended up in supporting parts (even in THE MAN WHO CAME TO DINNER it was Bette Davis who was given the starring position in the credits!). More typical of his later films was MISS TATLOCK'S MILLIONS, where he and Dan Tobin were two greedy uncles of "Schuyler Tatlock" (John Lund). A better (deeper) part was the Latin Scholar in THE BISHOP'S WIFE, who is going to write the greatest history of Rome since Edward Gibbon.

The problem, for Woolley, was age. To an extent, in the early 1940s, he was able to still play grouchy sorts who were not too old (say about 50). But as the 1940s went forward, Woolley's age became a handicap. It was harder and harder to find material for him where he was the star.

Without a doubt his last starring role was as John Hodges, the 65 year old printer who is forced by a company policy to retire while he is still mentally and physically vigorous. Few films from Hollywood had tackled the issue of aging. The best known one was Leo McCarey's MAKE WAY FOR TOMORROW, with Victor Moore and Beulah Bondi, which remains a heartbreakingly sad film. But that was made in 1935. Except for an occasional comment about aging in a film (like Berton Churchill's comment to John Carridine not to heed his white hairs if he is hesitant to challenge Churchill to a fight in STAGECOACH), most of the movies ignored aging. Even before the 1960s and President Kennedy's pushing a cult of youth and vigor, Hollywood was pretty much doing the same thing.

So this is why AS YOUNG AS YOU FEEL is such an unusual film. Besides Woolley getting one of the best parts of his career, it tackled a relatively taboo subject. Why talk about the inevitable that nobody likes to think about - aging and weakening...and eventually death. It's a downer in terms of a theme for a film (as McCarey's movie had brilliantly shown). But in point of fact AS YOUNG AS YOU FEEL is the reverse side of the coin.

Woolley is forced to retire from his firm, and is angry about it. Then, by chance, he is able to temporarily take over the media and town's attention when he is mistaken for the multi-millionaire (Minor Watson) who has taken over the factory that retired Wooley. Being an intelligent man, his opinions get huge publicity and sweep the nation. Woolley stresses that the chronicle age of the individual does not mean that he or she is to be put out to pasture, if he or she is capable of functioning and contributing to society. Soon Woolley finds he is in demand everywhere due to his spunky philosophy. Watson, of course, is amazed at the error, but does not stop it - he finds that it is enhancing his own public image (after all, the media and the public think Woolley is Watson).

At the same time, Woolley finds the masquerade is getting out of hand in many ways. It is playing havoc with his grandson (David Wayne's) career. It is also playing havoc with the family life of the manager of the factory (Albert Dekker and his wife Constance Bennett). So caught up in the American dream of making a success of himself for his family, Dekker has distanced himself from his wife and son. Then Woolley shows up, and Bennett decides she wants to divorce her stodgy husband Decker for that lively old wire Woolley!

It was a nicely written role (by Paddy Chayefsky)and Woolley did very well in it. Ironically, despite the philosophical point of view in the film, the studio system ignored the message. Woolley never had another great lead part after this film. His last memorable part was as an elderly adviser to the young Persian Monarch in the musical KISMET - not a really big part that.

Ironically too, the film was one of a long string of early films that Marilyn Monroe appeared in from 1949 (from LOVE HAPPY) to 1952 (the Cary Grant - Ginger Rogers MONKEY BUSINESS). Monroe did well in most of these roles, and they gave her exposure, but even in the meatiest ones (CLASH BY NIGHT) she did not "star" in them. Yet Marilyn's name means so much to this day in film lore to the public, these early films are usually sold in "Marilyn Monroe" collections. The ever youthful, ever too fragile Marilyn remains a Hollywood icon forty - four years after her death in 1962. Monty Wooley died in 1963, but I doubt that a hundredth of the people who adore the memory of Marilyn ever think seriously about Monty and his best performances.

"As Young as You Feel" is a warm comedy set in a city somewhere not far from New York City. The year is 1951. World War II is well past, and the Korean conflict had not yet begun. (Korea wasn't properly called a War until years later.) America and the world were retooled and making goods for the consumer markets.

The Cold War hadn't really heated up yet between the Soviet Union and the West - it was just in the smoldering stages. That's the setting for this film, and it helps modern audiences decades later to appreciate the film. If one understands the time and the social climate, the gist of the story will make more sense.

So, here is a story about a widowed man who lives with his son's family. Monty Woolley plays Grandpa John Hodges. Son George is played by Allyn Joslyn and his daughter-in-law, Della, is played by Thelma Ritter. Granddaughter Alice is played by Jean Peters. Other key players fit in the story. David Wayne plays Joe Elliott, Alice's fiancé, who works at the same company where grandpa is employed - McKinley Printing.

Albert Dekker plays Louis McKinley, head of the printing company, and Constance Bennett plays his wife, Lucille. Minor Watson plays Harold P. Cleveland, the Chairman of the parent corporation that owns many others. And, Marilyn Monroe plays Harriet, secretary to McKinley. There are a number of other supporting cast who do a fine job.

As an aside - I laughed when I ordered and received the DVD of this film, because the cover artwork is just a huge photo of Marilyn Monroe. She has a very small part in this movie, and it's not bad. For once it isn't about flaunting her sex. But that the movie industry thinks it must flaunt such sex stars to attract customers and sell products says something of the minds of those people. If I had only the DVD design to go by, I wouldn't have been lured to buy the movie. But, the story and the characters appealed to me.

There aren't lots of clever or funny lines in this film. Rather, it's about a huge humorous situation. Grandpa John enjoys his work, the company, and his associates at work. He has no inclination for sitting around playing checkers or cards, or taking up hobbies in retirement. He's healthy and happy, and is a craftsman in the printing field. So, when he gets a notice of mandatory retirement when he reaches 65, he wants to challenge the company policy. But where does that policy come from. It's not from his employer but a parent corporation way up the ladder somewhere.

When John finds out that no one knows what the chairman of the big corporation looks like, he devises a plan. Remember, this is 1951 when TV was just becoming a household staple. The names and photos of business heads weren't readily available on computers, cell phones, or methods as they are in the 21st century.

And that's the set-up. The ensuing scenes make up the bulk of the story. The situational humor is wonderful. And, the film touches on drama in marital relations, social issues and the mores of the day. This isn't a great comedy or drama, but it is a warm, feel-good and enjoyable film about a slice of real American society of the time as one family might have lived t. All, but the comedic situation that John Hodges creates, that is.