A Rebelde

Viewers will recognize Charles Coburn from Gentlemen Prefer Blonds & Monkey Business. Here he plays Burton Fulton, successful businessman, father to Polly (Barbara Stanwyck). Co-stars Van Heflin, Keenan Wynn, and Spring Byington round out the familiar faces in "BF's Daughter". Polly falls for Tom Brett (Heflin) and they talk about "eating in speak-easys" and "the depression", but this was made in 1948, and it sure looks like 1948 throughout. This was written by John Marquand, who had also written some of the Mr. Moto books. The film feels a lot like the Magnificent Ambersons, which had come out six years before -- story of a rich family, and how the offspring deals with changing times. Very serious storyline... the only humor is the ongoing joke of repeatedly calling one of the locals by the wrong name. When Polly tries to help Tom with his career, things don't work out as she wanted. Stanwyck also made "Sorry Wrong Number" right after this in 1948 - THAT role got her nominated for an Oscar... but not THIS one. The script needs some spicing up, or something. Everything and everyone is technically competent, but there's something lacking.

The original book about a tycoon's daughter marrying a left-wing economist was one of John P. Marquand's less cheerful novels. The plot had the economist taking a high-ranking civilian job in World War II while his one-time "establishment" rival joined the military and was given a dangerous assignment. Some critics attacked the book as a smack at liberals' love of country, while its defenders saw it as an antidote to wartime stories that celebrated the "common man" as the only true patriot. The movie glides over all that serious business, changing the class conflicts from serious issues to mere impediments to true love. While preserving a considerable number of the book's situations and even large chunks of its dialogue, the movie changes everything that's important, turning the couple's serious marital problems into simple misunderstandings. The result is a mostly dull romance, with Heflin and Stanwyck showing little chemistry. It would have been better if the filmmakers had gone further and turned the story into a comedy.

Turner Movie Classics featured a Barbara Stanwyck "Festival" this week, and I'm in the process of viewing ten I recorded. I must say, the lady is truly remarkable, giving her all to every performance.

In the case of "B. F.'s Daughter," Stanwyck is fully involved, feeling and executing her role with complete mastery. Fortunately, she's surrounded by an excellent cast headed by Van Heflin and Charles Colburn. The script may be flawed, but you'd never know it from the commitment given by this talented cast.

Call it a "B" or "women's picture"--"B. F.'s Daughter" held my attention throughout, thanks to its cast and MGM production values.

Probably one of the worst scripts ever given to Stanwyck, who shines like only she can despite the severe shortcomings of the dialogue. Maybe she saw something in it that she liked - plays like your average soap opera.

Barbara Stanwyck gets to turn the faucets on for three different men as well as model some pricey threads in BF's Daughter. While clearly a star driven vehicle the storyline itself is a paean to American capitalism summed up in the benign performance of Charles Coburn as a fair minded captain of industry and the abrasive wrongheaded muck wracking of an agitator commentator played by Keenan Wynn.

Polly is the spoiled daughter of industrialist BF Fulton. Engaged to be married she has her head turned by a progressive man of the people, Tom Brett ( Van Heflin ) who has little use for the money of men like BF. She marries Brett who rejects her lifestyle even though it is her money that brings him exposure and fame. The two drift, BF gets ill and the ex-paramour flies off on a dangerous mission giving Polly plenty to fret about.

BF suffers from too much comparison to other works involving the cast. Stanwyck's spoiled rich girl doesn't seem to dig as deep as she does in Sorry, Wrong Number. Her father daughter reprise with Coburn worked better when they were on the other side of the law in The Lady Eve. The same can be said with Heflin in The Strange Love of Martha Ivers.

Robert Z. Leonard's direction is sound and cinematographer Joseph Ruttenberg delivers some stunning compositions but the story itself is a soapy melodrama that ultimately turns to sap.