L'affascinante bugiardo

This film was indeed a mildly amusing comedy and one's acceptance of it will depend on one's affection for Monty Wooley. But I was fascinated by the credits. It's part of the feel-good type of movies of the early 1950s. The story is by a young Paddy Chakevsky, who would later write Marty, A Catered Affair, The Goddess, The Americanization of Emily, Hospital, Network, and Altered States, and the screenplay is by Lamar Trotti, who wrote the screenplays for John Ford's Young Mr. Lincoln and Drums Along the Mohawk, for Ox Bow Incident, and won the screenplay Oscar for Wilson in 1944. A lot of talent in a thimble. It might be interesting to compare this screenplay to their other works for similarities. Chakevsky's work later became sharp and hard and even bitter. But his Marty, Catered Affair, and maybe even this show a gentle, humorous side. Trotti would die the next year, so this is one of his last screenplays

"As Young As You Feel" is a modest budget early 50's B&W comedy. While the creative people were experimenting with 'film noir' and 'neo-realism', the studios were cranking out stuff like this for a traditional audience. This adaptation of a story by Paddy Chayefsky was made during the McCarthy years, so the social satire aspect could only be subtly subversive. The themes (balancing work and play, doing work that gives you personal satisfaction, and maintaining your integrity) give the film a worthwhile message and are not delivered in an overbearing manner.

Monty Woolley (as John Hodges) carries the film as a printer who is pushed into retirement at age 65 and decides to impersonate the president of the holding company that owns the printing plant where he worked. This sets up a sort of 'Being There' effect, where his views on national affairs become an inspiration to the whole country. David Wayne (who would eventually play the Mad Hatter on "Batman") plays his prospective son-in-law and their scenes are all gems, partly because they have a real chemistry and partly because they got the best dialogue. The best scene is the opening, a very well staged scene of the company orchestra playing the "Nutcracker": the camera opens on a promotional poster, pans left and takes us into the concert hall as a little girl scurries to her seat. The camera moves around in the crowd where we meet most of the main characters. Hodges is playing one of the piccolos and he soon launches into an impromptu solo, much to the annoyance of the guest conductor and an accurate preview of what his role will be throughout the film.

This film is fairly entertaining but is most valuable as a cultural artifact. Because it was not a high budget production the cast is almost entirely older stars at the very end of their careers (like Wooley and Constance Bennett) and young actors at the beginning (Wayne, Jean Peters, and Marilyn Monroe). So there is a kind of torch passing at work. It is also hints at Monroe's special screen presence which somehow allowed her to beat the Hollywood starlet system. She and Peters were the same age (both were born in 1926) and had both started too late in the movie business. By this film they had already lost all the youthful luster of their early 20's (check out how much better Peters looked two years earlier in 'It Happens Every Spring' and Monroe before she became a blonde), yet Monroe was somehow able to transcend this and become a big star.

Arthur Miller said of Monroe: "She was rarely taken seriously as anything but a sex symbol. To have survived, she would have had to be either more cynical or even further from reality than she was. Instead, she was a poet on a street corner trying to recite to a crowd pulling at her clothes."

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.

Monty Woolley believes you're as "Young as You Feel" in this 1951 film also starring Thelma Ritter, David Wayne, Jean Peters, Allyn Joslyn, Russ Tamblyn, Albert Dekker, Constance Bennett and Marilyn Monroe.

Woolley plays John Hodges, who at the age of 65, is fired from his job in a printing company due to corporate policy that no one can work past 65. Many baby boomers wish that were the case today, because in fact, they'll be working way past 65. He finds out that the company he works for is a subsidiary of a huge company that is owned by a huge corporation. Finding out the name of the President of that huge corporation, he dies his hair and whiskers and poses as the man, comes to town, tours the plant, and makes a speech in which he declares that the knowledge of our elders is critical in printing, and changes the policy.

And there the fun begins. The boss' wife (Constance Bennett), feeling unloved by her husband (Dekker), falls for Hodges; his granddaughter's boyfriend (Wayne) recognizes him and tells someone else at the plant; and the corporation doesn't know what to do. This fake president has raised their stock and given them a fabulous profile, so much so that the labor union has settled their grievances with them. How can they call his bluff? I seem to have enjoyed this film more than some of the other posters. Thelma Ritter, as John's daughter-in-law, is a scream. An ex-singer who gave up her career to marry George (Joslyn), John's son, sings "Temptation" while in the kitchen - she's hilarious. Woolley is great as an older man not ready to be put out to pasture, and it's wonderful to see one of the great stars of the '30s, Constance Bennett, in a later role.

This film is remembered today as early Marilyn Monroe. She plays the boss' sexy secretary, and she does a wonderful job. It's a small role, but you can definitely see that she, Peters, who plays the granddaughter, and David Wayne are all getting the star buildup and are each at different stages of it. Monroe was just about to break through, and she and Wayne would appear together in "How to Marry a Millionaire" (where he says, "I already think you're quite a strudel.") Entertaining and definitely worth seeing.

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.