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On the outside, "The Male Animal" works most of the time as a lightweight comedy starring two heavyweight actors, Henry Fonda and Olivia de Havilland. However, from the inside, 'The Male Animal' is more than just a 'brain vs. brawn' type of film, it is a convoluted mess of love triangles, rival jealousies, and a liberal viewing of the moral ideals that separate liberal America from conservative America. And if that's not enough to chew on, there's also a superfluous sub plot that features a love triangle mirroring the lead love triangle.

This sub plot is one of the weakest parts of the film, perhaps because the supporting parts in it end up being largely inconsequential to the main plot and therefore just become lighter and younger copies of the main characters. Does it really matter that Patricia Stanley (Joan Leslie) finds herself caught between two college crushes, the first being the current football star Wally Meyers (Don DeFore) and the second being a nerdy journalism major named Michael Barnes (Herbert Anderson)? Not really, but I have the feeling it was supposed to.

The strongest attribute from this film comes by the way of the comedic interplay through the leading love triangle between the ex-football player Joe Ferguson (Jack Carson), his old cheerleader flame Ellen Turner (Olivia de Havilland) and her husband Tommy Turner (Henry Fonda). Much of the film centers on the homecoming of Ferguson and the subsequent home wrecking of the Turners. Ferguson's arrival brings out the young romantic dreamer in Ellen and the insecure jealousy in Tommy. Ellen and Tommy keep a smiling facade for Ferguson and school boosters who traipse in and out of the house, but behind closed doors lurk a lot of pent up questions that quickly turn to accusations. This love triangle works well through a good part of the film; however the impending, or rather, the implied and impending divorce arrangement that is understood, or better yet, misunderstood by the lead characters quickly becomes monotonous. One wonders how better this film would have been had it been directed by Preston Sturgess instead of Elliott Nugent. The funniest line in the film centers on the response Tommy gives Ellen when discussing Tommy's irritability at having to entertain house guests. Ellen suggests that Tommy have a soda to calm his nerves, to which Tommy calmly replies, "let's not bring this down to the level of bicarbonate of soda".

If the dizzy love triangles account for the comedy in this film, then it is the threat of a letter being read by Turner to his English Literature class, penned from the hand of a convicted criminal and communist, that makes up the drama of the film. Ed Keller (Eugene Palette), the chairman of the board of trustees at the college mentions to Turner that their college isn't a place for "too many ideas". Keller, although never having read the letter, thinks this type of letter goes against all that he sees as good in America; namely 'Abraham Lincoln', 'right guys, stand up guys', 'pep rallies with bonfires' and of course, 'The big game'.

Turner could always watch from the safety of his porch the yearly mob mentality of a pep rally during homecoming, when all that was at stake was a football game. However, this mob has assembled to burn him at the stake. His job, his marriage, and his safety all hinge upon whether he can make the whipped up mob not only listen, but try to understand the beauty and composition of the letter. Before Turner starts to read from the letter, his wife, in the audience with Joe Ferguson, looks on with pitying eyes. By the time that Turner has finished his letter and calmly walked off stage, she feels she's made a terrible mistake by not standing by her man.

What happens next is a very clean and tidy ending. Everyone in the film is in smiles and Turner finally gets to enjoy a rally away from his porch and his bicarbonate of soda.

Everyone in the cast has their moment to shine. Fonda and Carson get the bulk of what is good. Fonda seems at his best when he's in a film where he is standing up for what is right, whether it be as a juror in '12 Angry Men' or the voice of reason in 'The Ox-Bow Incident'. 'The Male Animal' is no different; his reading of the letter is brilliant. I didn't care too much for his drunken buffoonery that lead up to the end, but the letter reading at the end more than makes up for it. Carson is always a solid second banana. He is outstanding as the ex-footballer and ex-boyfriend to Olivia de Havilland. I always like to see Olivia de Havilland, she's always good, but she seemed just a tad wasted by the end of this film. She was great whenever she would become emotional at the realization of how difficult Fonda was making her decision to run away. She's a terrific actress who is easy on the eyes, but mixing comedy and drama in this film was not her highest moment.

Just like the trick 'Statue of Liberty' play employed by the school to win the big game, you might not appear to have had a ball watching this movie, but it still features a few extra kicks in it, and after all, that could be the small difference in the big game.

8/10. Clark Richards

Debate over whether a professor should be allowed to read a controversial letter to his class forms the subject for this spirited football vs. academics comedy originally a stage play by Elliot Nugent and James Thurber. The screen version moves briskly but it's all played at a "full steam ahead" kind of tempo popular at Warner Bros. Henry Fonda is excellent as the mild-mannered professor resentful of his wife's ex-boyfriend (a football jock) and Olivia de Havilland is radiant as his supportive wife. Jack Carson is ideally cast as the ex-football player still in love with Fonda's wife and his bombastic approach to comedy serves him well in this role. Joan Leslie is a little too coy as de Havilland's sister (a role played on the stage by Gene Tierney). It passes the time but is little more than a mildly entertaining comedy with too many dull stretches to make it truly satisfying. Fonda and de Havilland later played husband and wife again on Broadway in 'A Gift of Time' (1962). Elliot Nugent's direction is brisk but it still seems rather stagebound. Nugent himself played the role of the professor on Broadway.

Henry Fonda is a college professor in danger of losing his job and his wife in "The Male Animal," also starring Olivia de Havilland, Jack Carson, and Joan Leslie.

Fonda plays a happily married intellectual. On the weekend of college homecoming, his wife's former beau (Jack Carson), a jock, shows up, giving rise to the professor's insecurities.

He's having problems in his teaching life as well when an editorial states that he plans to read a letter from Bartolomeo Vanzetti (of Sacco and Vanzetti) in his English composition class. The trustees aren't happy and want him to state that the article is incorrect.

As he is up for a full professorship, his wife hopes he will back down also since three teachers have been fired for being "reds."

This is an odd film with a very timely message about censorship and its dangers that by itself would have made a good movie, especially with wonderful actors like Fonda and de Havilland.

However, the home situation was played for comedy. This film didn't seem to know which it was. If I were to guess, I would say the studio wanted a comedy and the dramatic part was downplayed. It's a shame, because there was nothing special about that part of the film, except that Jack Carson was very good.

The Henry Fonda character discovers that he has to become "the male animal," i.e., one who fiercely protects his home, and not only his home, but his role as a teacher as well.

Today, when "Brokeback Mountain" isn't being shown in all areas, and more censorship is being urged, this is a good movie to see if only to remind us that the this is a war that has been fought for years. Nowadays I wonder if we're winning.

"The Male Animal" is an enjoyable film about a Midwest college town and the faculty and alumni. It's a comedy-romance that's built around a theme of freedom of speech. Henry Fonda plays Professor Tommy Turner who creates a brouhaha by selecting a letter by Bartolomeo Vanzetti to read in his English class. Vanzetti was one of two convicted criminal anarchists who was executed in 1927 for the murder of a guard during a robbery. The case would have been remembered yet by people in the 1940s, but by few today. I had to look it up to see if it was fiction or real.

I read a great deal more about it, because it was very interesting. Vanzetti and Nicola Sacco were associated with a gang that planted bombs and disrupted industry in the U. S. in the 1910s. But, because they were Italian immigrants, there was a lot of sentiment that they were unjustly tried. It became such an international incident that large throngs of people held protest riots around the globe. Huge damage was done in Paris, London and other cities. So, in these years well after that time, James Thurber and Elliott Nugent included a letter written by Vanzetti while in prison, that protested his innocence, as part of a play they wrote, "The Male Animal." It became a major Broadway hit in 1939, and that led to Warner Brothers getting the movie rights.

Anyone watching this movie without the background knowledge would rightly think Tommy's choice was lame of this letter to read as an example in his English course. But, because of the civil unrest associated with the Vanzetti case, Thurber and Elliott might have thought that would register in the minds of the audience as a reason for the subsequent student protest in the play and movie.

Well, that was just the premise that the rest of the story is built around. The freedom of speech aspect itself was pretty lame. I suspect that the comedy went over much more on stage than it does in this film. The script is not overly witty or funny. A few of the situations are funny, but the humor is provided most often by other characters in the film. Olivia de Havilland is quite good as the doting wife of the professor, Helen Turner, who's bent on his moving up in the college leadership. And, this is another film when Jack Carson shines in his supporting role, here as Joe Ferguson. As the former star of the Midwestern University's football team, Carson is very funny. To the writer's credit, he isn't made out to be an oaf. He's an alum and dedicated sports fan around whom the college benefactors can be expected to rally to continue their support for the school. The film becomes consumed with Tommy's fear that Helen may still love Joe.

Other supporting members of the cast do credible jobs in their roles. But, overall this film is just so-so. And that may be more because of Hank Fonda than anyone else. Fonda was a very good actor, who didn't do comedy very well. He couldn't hold a candle in comedy to Clark Gable, Cary Grant, Jimmy Stewart, Fred MacMurray, William Powell or half a dozen other top actors. Fonda had few comedies to his credit, but for every one that was a success, there were two that weren't. And, the successes were due more to his co-stars than to Fonda. He was best in dramatic roles. He made some nice mysteries as well, and also did very well in Westerns. But comedy was not his forte.

"The Male Animal" is a film that many would enjoy on a weekend afternoon. But it's not a movie to add to a film library.

I was born in one year before this movie was made. Therefore, I went to public school where the teachers were terrorized by HUAC. While the film reflects the racism that prevailed in the country, at the time, with the character of the maid, the censorship of the Professors makes the film relevant to our time. Many of the teachers of the fifties were blacklisted for similar acts of instruction that are reflected in this movie. Such political statements are as relevant today as when the film was made. Simply exchange the label "Liberalisism" for "Radical Islam," and the mood of those in control is very similar. In addition to the racism, the film is hurt by the stereotypes of the intellectuals as weak and whinny, and the jocks as too dumb to understand what is happening around them. This was one of Jack Carson's better films.

The lyrics of Jerome Kern's "Who" resonate throughout this movie as the lead characters battle one another, both rhetorically and physically, for answers to the big question "Who?" Who does Ellen Turner (Olivia de Havilland) really love? Who does Ed Keller (Eugene Palette) like? Who invited Joe Ferguson (Jack Carson), erstwhile beau to Ellen and football hero/legend at Midwestern U.? Who will save Ellen and Tommy from themselves? Who can save Michael Barnes (Herbert Anderson) from "Hot Garters" Gardner (Jean Ames)? Who is Wally Myers (Don DeFoe), the current football hero, really courting? Joe or Patricia (Joan Leslie)? And who is Bartolomeo Vanzetti? and what does he have in common with people like these? Tune in to the song: i.e. "Who stole my heart away?/Who makes me dream all day,/Dreams I know will never come true,/Seems like I'll always be blue./Who makes my happiness?/Who would I answer yes to?/Well, you oughta guess, Who? No one but you." Don't guess.

See the movie. You not only gotta see the movie, but you gotta hear it, too.

Tommy Turner (Henry Fonda) is a happily married book-smart professor at Midwestern University. It's homecoming weekend and the return of All-American Joe Ferguson. It's so happens that Tommy's wife Ellen (Olivia de Havilland) is Joe's ex. It's been six years since they've seen him. Tommy is expecting a promotion. It is all threatened with him planning to read a controversial letter. He didn't mean to be a radical but only sees it as a good example of English composition.

I thought this is going to be a light comedy. At most, I was expecting a love triangle drama. It could deal with a broad matter like censorship. Then the red scare gets the front page treatment. This is trying to combine Revenge of the Nerds with the McCarthy hearings. It's a very odd mixture. It is even more odd when one considers the times. What exactly is it trying to say? Let's not be rah rah rooting for Americanism, whatever that is. Whenever it tries to be funny, the heaviness of the politics muddies the water. It's all a very odd mixture.

When college English professor Tommy Turner (Henry Fonda) says that he's going to read aloud letters from controversial figures in his class, the school bosses threaten to have him thrown out. This happens during the buildup to a major football game which sees the return to campus of former sports great Joe Ferguson (Jack Carson), who seems to be making time with Tommy's wife Ellen (Olivia De Havilland).

The script by Julius and Philip Epstein and Stephen Morehouse Avery was based on a play by James Thurber and director Elliott Nugent. There's a lot that can be said about the clash between the academic and the athletic on college campuses, and the subject of free speech and what is and what is not appropriate for students to hear is something that seems to be in the news every week. Unfortunately, the movie is more interested in tired rom-com tropes, with the Fonda-De Havilland-Carson love triangle competing with the Herbert Anderson-Joan Leslie-Don DeFore love triangle for cliched banality. The performances are all fine for what they wanted to accomplish, but Eugene Pallette was maybe a little too annoying as an alumni blowhard. And it's hard to make Eugene Pallette anything but humorous.

James Thurber is best recalled for his wonderful cartoons (mostly printed in The New Yorker magazine in the 1920s through 1950s) and his remarkably fine short stories and essays. He recently got an ultimate accolade (posthumously) by having a volume of his prose and cartoons published in "The Library of America" series. The two longest pieces of writing that he created that people remember are his short story, turned into a film, "The Secret Life of Walter Mitty", and his other short story turned into a television dramatization, "The Greatest Man in the World". Also his writings were the basis of a wonderful television series (in 1969 - 1970) "My World And Welcome To It" starring William Windom. Quite a bit of mileage for Thurber's work.

He only (as far as I know) wrote one play. He collaborated with Elliott Nugent on THE MALE ANIMAL, a comedy set on a college campus, that dealt with the limits of free speech and academic freedom on a college campus. Tommy Turner (Henry Fonda), and English professor in a mid-western college, is happily married to Ellen (Olivia de Havilland) when two disasters hit him in one weekend. One of his students, Michael Barnes (Herbert Anderson), is the editor of the college newspaper, and he writes an article praising Turner's outspokenness and encouragement of democracy, and mentioning that Turner is going to conclude a course on great epistolary (letter) writing with the final letter of Bartolomeo Vanzetti, the convicted anarchist murderer(?) / martyr. This turns out to be unwelcome publicity to Tommy. Secondly it is timed for the alumni weekend, when the arrivals include the bullying head of the Board of Trustees Ed Keller (Eugene Palette) and Tommy's former rival for Ellen, Joe Ferguson (Jack Carson).

Sex and the battles of the sexes play as much a role in the play as does political correctness and censorship. First off, Michael/Anderson apparently wrote the article because of his disappointment concerning his floundering romance with Patricia Stanley (Joan Leslie), who has been showing interest in the football hero of the campus Wally Myers (Don De Fore). This younger triangle mirrors the older one of Fonda, de Havilland, and Carson. Fonda is a fine teacher, but he was giving a pep talk to the disheartened Anderson. That was why he wanted to show his appreciation in writing his piece in the paper.

Everyone on campus is upset by Fonda's choice of literary example. Carson (now a successful car salesman, whose marriage is rocky and he can't understand why), feels it's wrong. So does de Havilland, who can't understand why Fonda would jeopardize his job by reading that anarchistic trash. And Palette is livid - a prime example of super capitalism triumphant, he has no use for those trouble-making lefties like Vanzetti. And since Palette is the head of the Board of Trustees, his anger can't be simply brushed aside.

The play has many nice moments in it - Carson and Palette reliving football glories of the past, with the winning "Statue of Liberty" play, that Fonda manages to simply reduce to absurdity that Carson is left wondering what happened when he is literally ball-less. The pep talk that Palette gives regarding messages from various people who can't come in that weekend - and how banal the messages from all of them are. The attempts by Fonda to protect De Havilland with an unsuspecting (and surprisingly honorable) Carson in case Fonda's future is over. And the climax, when the letter is read to the entire school body.

It is still quite an effective movie, though not thought of among Fonda's or de Havilland's leading performances. Interestingly enough, the letter (while still a masterpiece of English prose) is now known to have been ghost written between Vanzetti and a news reporter who befriended him. But that does not take away from it's effectiveness. As a study in the pros and cons of free speech and academic freedom, you could not do wrong starting out with this film.

There are some actors and actresses who can seamlessly cross film genres, and then there are some who don't. While I have not seen a lot of comedies starring Olivia de Havilland, I do know that from what I have seen, despite the occasional moments of inspiration (her turn as a young, star struck debutante in "It's Love I'm After" was particularly charming) she really does her best work in melodramas. Unfortunately, in Elliott Nugent's 1942 film "The Male Animal", de Havilland proves that her successful comedic turns are most certainly an exception and not the rule.

"The Male Animal" focuses on Tommy Turner, (Fonda) an English professor at Midwestern College in Michigan. His effervescent wife Ellen (de Havilland) is both celebrating her birthday and planning a dinner party the eve of the small college town's biggest football game of the year. Tommy, a fairly serious academic, is vexed when he finds out that one of their weekend guests will be Joe Ferguson, the former captain of the football team and all-around campus hero. Joe and Ellen have a romantic history together (she was head cheerleader to his football hero), an element that is further complicated when he finds out that Joe is recently separated from his wife. A subplot involving Ellen's younger sister Patricia and her two beaus mirror Ellen's situation; boyfriend #1, Wally, is the current football star and boyfriend #2, Michael, is a scholar. The two plots collide when Michael writes an editorial for the school paper hailing Tommy's decision to read a letter written by Bartolomeo Vanzetti (of Sacco-Vanzetti fame) in his class the following Monday. Tommy soon becomes a target for the school's trustees and his job situation becomes unstable while he decides whether he is going to succumb to the trustees and not read the letter, or exercise his academic and personal rights. Between his job situation and his fear of losing his wife, Tommy ends up having an unprecedented weekend.

Like the plot itself, "The Male Animal" is conflicted in the kind of movie it wants to be. On one hand, it is a goofy physical comedy wrought with misunderstandings worthy of Shakespeare (or Three's Company), yet it throws in a fairly compelling subplot concerning the freedom of speech element that is great on its merits, but coupled with the silliness around it, it doesn't quite fit. Fonda is a great, laid-back actor who doesn't look lost with comedy, and while my first impression is that he looked a little lost and befuddled during the high hilarity, I can safely attribute that to the character that he played. de Havilland, on the other hand, is charming for a total of 15 minutes of her screen time and spends the rest of the film being shrill and acting helpless. It is films like this that remind me of her comedic limitations; actresses such as Bette Davis or Myrna Loy are able to slide effortlessly between the comedic and dramatic genres I think, because they have a wryness about that. Davis is able to deliver a comedic line with a whip smart raise of an eyebrow and Loy has the aplomb and class to deliver a line with typical dry humor. de Havilland, at least in my experience, doesn't always possess these gifts, and therefore failed in this film. Jack Carson played the same kind of role here as he did in "Mildred Pierce" or "Arsenic and Old Lace"; he is predictable, but his predictability works.

"The Male Animal" is billed as a comedy/romance, and there is indeed some comedy and some romance. Unfortunately, by throwing in a heavy subplot involving something as important (and, admittedly, refreshing) as freedom of speech, particularly when it involves a convicted anarchist, it both waters down the romantic comedy aspects and lessens the effectiveness of the statement it is trying to make about personal and academic freedoms. If the film had either handled these conflicting themes better, or gave up on one or the other entirely, the film may have been more enjoyable, but as it was presented, and despite the fact that it featured a couple of actors I really enjoy, I can only give "The Male Animal" a 5/10.

--Shelly

Henry Fonda is our intellectual, idealistic professor at Midwestern University. He is married to a woman much younger than him played by Olivia de Havilland. Fonda is going to read a letter as an example in his English class to give an example of great speeches written by illiterate people. The problem is, the man was condemned as an anarchist and traitor and sentenced to death. This gets the trustees of the University bent out of shape and try to stop him. His wife, an ex-cheerleader is being romanced by this ex-football QB played by Jack Carson. They once dated and he feels less of a man around him. The trouble in his professional and domestic life propel this comic satire. This film is based on the play by Elliot Nugent who also directs. Obviously, this movie is taking on current issues of the day to which I am unfamiliar but eager to research. It is so current that it can be applied to today's environment and politics; people who are fearful and criticize things they haven't heard or seen as the letter Fonda intends to read; nobody knows the contents. The pressure to conform and governments who censor political opinion that is dissenting or alternative, school bodies who train our students to focus on the material issues over the immaterial ones. For, the Chancellor is only interested in the winning football team they have and he feels that has ensured his greatness and reputation making him a man to be reckoned with. But other things make a man and Fonda who probably has delivered the best monologues in movies in such movies as The Grapes of Wrath, 12 Angry men, Ox-bow incident, Mister Roberts and Fail-safe delivers another one here that makes the movie. Study this movie for its take today on the follies of censorship.

Elliot Nugent's direction has the cinematic quality of a three camera sitcom episode and I'm just not in the mood for a lecture from Enlightened Hollywood on academic freedom while Hattie McDaniel languishes in yet another maid role (four years after nabbing the friggin Oscar)!

The parallels of the Fonda-DeHavilland-Carson triangle with the younger Anderson-Leslie-DeFore triangle are played against each other to good advantage in this well-scripted and well-acted farce. DeHavilland is at her best, never losing her poise, and De Fore's scenes are hilarious. This is a movie to be enjoyed, not analyzed.

'The Male Animal' is that beast which lives in all men and comes to the surface when he is threatened. This satire about American concepts of manliness was a hit on Broadway but it made a rather sluggish movie in this incarnation.

Henry Fonda is fine as the egghead professor and man of principle who proves that standing up for ones values and for freedom of speech is the manliest act of all. Olivia de Havilland is too matronly in appearance and manner as his wife. Far better is Jack Carson, perfectly cast as the brash ex-football 'hero' who turns out to be timid when the chips are down. As usual, this hearty character actor brought more to the part than the script required.

What strikes you while watching this in 2004 is that the film's message is as fresh and relevant as it was over 60 years ago. A world where athletes are lionized for little reason despite their many shortcomings as men, a world where athletics is given more respect than scholarship, a world where liberal, humanist, democratic values are attacked and constantly threatened with censure -- this is the world we are still living in. This revelation is sobering and suggests that the forces of conservatism have always been too strong in this country, and have been holding us back from all we should be. So while it's a pity this film isn't much, much better than it is, it's still worth a look for the little shocks of recognition it provides.

A nice message at the end, but whew, a long way to get there, with a lot of silliness in a film that's all over the place. The cast was very interesting to me - Olivia de Havilland and Henry Fonda, with Jack Carson and Joan Leslie (who would appear together again a year later in 'The Hard Way'), Eugene Pallette with that wonderful voice of his, and Hattie McDaniel besides. The script lets them down, and I have to say, seeing de Havilland and Leslie overplay the farcical aspects of their parts was tough too. At its heart, the film positions men, the 'male animal', as belonging to one of two tribes - intellectuals or brutes. Fonda plays a college professor in the former camp who is married to de Havilland, and then watches her fall for an old flame, Carson, who is a loud ex-jock with two things on his mind - football, and de Havilland. This is where the film is weak, because aside from some amusing little moments when Fonda gets drunk, this whole love triangle story is ridiculous. Carson plays his part just fine, but his character is annoying. Leslie is involved in a parallel love triangle in what is a forgettable performance.

Where the film redeems itself is in the subplot which forms the basis for its moral message. Fonda's character is teaching a class in English composition, and for one lecture, plans on reading a letter penned by anarchist Bartolomeo Vanzetti along with one from Lincoln and another from William Sherman. When word of that gets out in a campus paper article, the head of the board of regents (Pallette) tries to censor the paper and then shut Fonda down. For a while I really wondered where it was going, because sympathies are all with Pallette, including de Havilland's, which was alarming. Watching Pallette speak at a football rally, calling players out one by one, urging everyone to fight, all with a bonfire in the background made me think of a Fascist rally, though the reference is subtle. As Fonda and a colleague sit glumly through it, they're the ones who seem like dullards, and they're urged to stand up and cheer, not unlike forced nationalism. In the end Fonda does stand up for what's right and shows that being courageous can take a very different form than brawling or showing physical might. 'Americanism', as the film puts it, is shown to be a celebration of the freedom of thought and expression, which was of course so appropriate during WWII, and something we need regular reminders of. I love how the film for this and for honoring the intelligentsia, it's just too bad that the rest of it is so clumsily executed.

A splendid time capsule. We meet the poor, oppressed college liberals and leftists held down by nasty, stuffy reactionary right-wingers. If only someone would let them speak! Surely, in the decades to come, when leftists came to dominate every segment of Academia, they would never dream of doing the exact same thing to conservatives! No, no!

This may be hard to fully appreciate outside the context of the football-mania of OSU in football season, but even in exclusion, the comedic performances of Jack Carson and Eugene Palette upstage one of Henry Fonda's great performances. There was an element of mad cap thirties comedy pushed into a script that is classic James Thurber. Look for Jack's description of the fake fake (apparently). Ex Football players will want to get out there and really fight once they're through looking for the cream pitcher. Hattie McDaniel's reactions alone are reason enough to see the movie and if you're worried about Fonda showing up, don't - and Bartolomeo Vanzetti may get some peace.

(1942) The Male Animal COMEDY DRAMA

Totally outdated which wouldn't be watchable had I not recognized it's two veteran actors of Henry Fonda and Olivia De Havilland. Adapted from the play by James Thurber and Elliott Nugent, which involves English professor, Tommy Turner (Fonda) refusing to be dictated by school board, allowing one of his students, Michael Barnes (Herbert Anderson) to publish controversial editorial. Meanwhile, both Tommy and his wife, Ellen Turner (Olivia de Havilland) are also inviting an old colleague, named Joe (Jack Carson) who used to be one of Michigan's biggest football college stars. And Joe conveniently had just broken up with his wife too. Did I mention that this movie is outdated since most testosterone guys these days, particularly jocks enjoy sleeping around even if they're married.

Having grown up on "screwball comedies" for over 50 years, this movie feels forced. It's as though the studio executives decided to make a comedy; and by gosh, the script would be funny, the dialogue would be funny, and the performances would be funny. The problem is that you can't fake funny.

That being said, I did enjoy Fonda. I knew Olivia could do comedy after watching Princess O'Rourke with Robert Cummings, released the year after this one. But the script is lackluster, and I get so very tired of scenes involving main characters getting intoxicated on alcohol.

I think all that could be overlooked if the denouemant had excelled beyond the letdown that it ultimately is. Sadly, it's less than thinly veiled propaganda. That would be okay, if it had metaphorically swept me off my feet like This Land Is Mine does. But the ending fades into Hollywood obscurity.

Watch only if you're a diehard fan of its leads.