L'alto prezzo dell'amore

José Ferrer's 1958 film, "The High Cost of Loving," centers its narrative squarely on the anxieties of Jim Fry, played with a palpable tension by Ferrer himself. As an office manager, Jim finds himself facing the looming threat of a potential layoff, a precarious situation made all the more significant by the recent news that his young wife, Ginny (a vibrant and early showcase of Gena Rowlands' talent), is pregnant. The film meticulously portrays Jim's internal struggle as he grapples with the fear of financial insecurity and the immense responsibility of providing for his growing family during uncertain economic times. Ferrer's performance captures the quiet desperation of a man striving to maintain stability in a world that feels increasingly unpredictable.

Adding a significant layer to the emotional core of the film is the portrayal of Ginny Fry by a young Gena Rowlands. Her performance beautifully captures the hopeful anticipation and burgeoning joy of impending motherhood, creating a poignant contrast to Jim's mounting anxieties. Rowlands imbues Ginny with a youthful optimism and unwavering support for her husband, even as she remains somewhat shielded from the full weight of his fears. Their dynamic forms the emotional heart of the film, highlighting the unspoken pressures that can strain even the most loving of relationships when faced with economic uncertainty and the profound life change of starting a family.

Adding a touch of the era's cultural landscape is a cameo appearance by Nick Clooney. While his role might be brief, his presence offers an interesting historical marker and a connection to the broader entertainment context of 1958. It serves as a subtle reminder of the community in which the Frys reside and the shared anxieties that might have permeated everyday life in a time of economic shifts.

"The High Cost of Loving" unfolds with a deliberate and thoughtful pace, allowing the audience to fully immerse themselves in Jim's internal turmoil and the subtle nuances of his interactions with Ginny and his surrounding world. Ferrer's direction emphasizes the emotional weight of the situation, focusing on the quiet anxieties and unspoken fears that can permeate domestic life. The film avoids dramatic sensationalism, instead opting for a realistic portrayal of a man grappling with responsibility and the uncertainty of the future in his specific time and place.

Ultimately, "The High Cost of Loving" offers a compelling and relatable portrayal of the anxieties surrounding job security and the financial pressures of starting a family in 1958. Ferrer's nuanced performance as Jim, coupled with Gena Rowlands' captivating portrayal of Ginny, creates a poignant depiction of a couple navigating a significant life change under a cloud of economic uncertainty. The film serves as a timeless reminder of the universal human experience of fearing for one's livelihood and the profound impact such anxieties can have on personal and familial well-being in any community.

... to put a spin on that old MGM slogan, plus this film is oddly prescient.

Jim Fry (Jose Ferrer who also directs) and his wife Ginny (Gena Rowlands in her film debut) discover that after nine years of marriage they are expecting a child. This is good news for them. But at work, Jim's company has just been bought by a larger firm. Jim is all swaggering and confident with his "law of the jungle" talk about how the larger firm may axe less productive employees until he finds out that perhaps the new owners think he is one of those less productive employees! He gets this idea initially because all of the other employees who have a supervisory role are invited to a luncheon being held by the new owners and he is not. This gets the wheels - and his imagination - turning.

From that point forward he walks in on this or that conversation and hears rumors about possible terminations and thinks this all about him. The audience knows better - we see what happens in every case where Jim does not. In fact the new management intends to promote Jim, but they haven't bothered to tell Jim yet. Not knowing this, he is worried about how he is going to support a wife and now a child if he loses a job at age 40 - too young to retire, too old to find an equivalent position somewhere else.

I don't know how this was received in 1958, but in 2024 it all looks oddly prescient. Layoffs today are a fact of life. If you are over a certain age, it can be hard to find work. Unlike in 1958, it is now illegal to fire someone or not hire them because of their age, so you'll get the excuse that "it's just not a good fit for the organization." Which can mean anything, but it actually means they think you are too old.

The cast has many stars of 60s TV right before they become recognizable faces - Jim Backus of Gilligan's Island, Bobby Troup of Emergency, Werner Klemperer of Hogan's Heroes, Edward Platt of Get Smart, Richard Deacon of The Dick Van Dyke Show, and Nancy Kulp of The Beverly Hillbillies. Several of these folks are not even in credited roles, but skilled performers make the production. Joanne Gilbert is the well-meaning yet shrewish wife of Jim's colleague. Gena Rowlands plays the supportive wife to the point of being almost ridiculous.

With the cast of future TV stars that I mentioned, this thing has more of the feel of a made for TV movie than a theatrical production, but that's not necessarily bad. With the audience being in on Jim's situation it's more of a comedy from the audience perspective and a drama from Jim's. I'd recommend it.

Jim (José Ferrer) and Ginny Fry (Gena Rowlands) are a happily married couple. She may be pregnant. He goes to work in purchasing in a large company which is merging with another and possibly facing layoffs. He grows concerned when he doesn't get invited to an important executive luncheon meeting. Each perceived slight only adds to his concern for his job.

I wonder if this is humor during the 50's. It's not, at least not in today's term. Humor does change over time. The funniest bit may be backing out of the garage. The movie feels flat. It does have a young Gena Rowlands in her first theatrical film. She's only support. When they're together, they are a 50's couple. This could be satire if it hits harder at the corporate culture. The problem with showing the situation from his bosses' point of view is that it takes away any of the dangers. In essence, the drama is diminished. It's self-inflicted and all a misunderstanding with no real danger. So the movie is not that funny nor is it that dramatic. It has some minor fun towards the end but it's not enough.

Huge names in this! José ferrer, who had already starred in caine mutiny and moulin rouge. Jim backus is probably best known as thurston howell III, and mad mad world, of course. Gena rowlands made a ton of films with peter falk, and was married to cassavetes. Keep an eye out for ed platt (the chief), werner klemperer was colonel klink! And one of the secretaries is nancy kulp, who will go on to be miss hathaway! Fun scene right at the start, where husband and wife don't speak, but have a perfectly choreographed routine, from getting dressed to eating breakfast. The first words spoken by them come at eight minutes in! The issues of the day are jim thinks they will be making big changes at work, and ginny thinks she might be "with child". It's okay. Kind of slow in the middle, picks up again at the end. It's more interesting for the big names, even though some of these actors weren't so big yet! Directed by josé ferrer. And mrs. Mason was played by henny backus, jim's real wife!

Any movie with...

Mr. Howell Mel The Chief Klink Ms. Hathaway Dr. Joe Early Otis Campbell can't be all bad.

The 1950's corporate ethos is on full display in this time capsule of mid-20th century America. The normally affecting Jose Ferrer is serviceable but comes across in this film like a recent graduate of the Jack Webb school of acting. Stiff. Jack Lemmon, or an actor with a greater ability to work in a lighter touch, would have been a better choice. In spite of the less than ideal casting of Ferrer, the movie is generally well acted and nicely shot in black and white. Sit back and watch your favorite TV character actors perform on the big screen before making their bones on the tube.