Que Vida Apertada

After several years on radio where instead of being a fine character player William Bendix was a star, the Life Of Riley made it to the big screen. The film is a far cry from Chester A. Riley's catch phrase of 'what a revoltin' development this is'. The characters that America loved on radio came to life on the big screen.

Bendix was so popular as the working class Riley who if at times was a bit thick dearly loved his family and they him and he strove always to get ahead. Like with so many it was shoveling against the tide, but working class America loved Chester A. Riley from Brooklyn and his transplanted family in southern California.

Where Riley worked on the assembly line at an aircraft factory where Mark Daniels the boss's son is giving competition to boy next door Richard Long for the hand of Babs Riley played by Meg Randall. Daniels has his own reason for wanting to get married and it ain't necessarily love.

Bendix is having some problems of his own. Visiting from out of town is Bill Goodwin the glad handing, fast talking guy Rosemary DeCamp almost married. Bendix feels so intimidated that he feels he has to put on a big front for Goodwin to show how successful he is. When he takes them to dinner at a French restaurant note how snooty the waiter is and also note those 1949 prices. Enough to make you cry.

The film is an extended version of the half hour radio, later television drama. That's no criticism I still wish ME TV or the TV Land channel would run those Life Of Riley comedies which I remember so well as a lad.

Chester A. Riley, working class hero, we salute you.

William Bendix recreates the eponymous Chester A. Riley role that was featured in the successful radio show. Riley is hapless, clueless, full of pretense, always falling short of his own short-lived dreams.

In the film, the primary story revolves around the engagement of his daughter. A mistaken assumption is paired with a dishonest revelation to create what is actually a tragic circumstance, but we know this is a comedy, so the final reel unravels the falsehoods and reveals the happy truths.

Riley is a character you laugh at, but personally I feel rather sad for him. Perhaps he is a little too desperate and his life is so out of his control. Still, the story is meant to be light-hearted--a good-natured ribbing of a fool who always trips over his own intentions.

All production aspects of the film are average and the acting roles offer few opportunities to shine.

Amusing movie entry following up on the TLOR radio series. All the characters are present including daughter Babs, son Junior, wife Peg, buddy Gillis, and of course the inimitable Riley. And what a guffaw to be reminded of Digger O'Dell, "the friendly undertaker". With his graveyard voice and dead serious demeanor, he's a real hoot.

The plot's okay. Blue-collar guy Riley doesn't like it when Babs appears to be dating the boss's son. After all, the loyal worker's been bucking for a promotion for years, but to no avail thanks to the boss. Then when the headman finds out about the dating arrangement, guess who gets a big promotion. But at what cost, as new foreman Riley soon finds out. Too bad that the gangster subplot disrupts the generally amusing flow.

One thing to note is how clearly the Riley series reflects conditions of the 30's and 40's when working men were king. That's in contrast to the upward decade of the 50's when family drama reflected white-collar life in the suburbs, e.g. Father Knows Best, (1954-60). That earlier arrangement is especially reflected in this film's windup. Anyway, Babs is cute, Junior is energetic, Peg's supportive, and Riley's his usual amusing and obstreperous self. What a perfect piece of casting Bendix was. His homely mug is so unlike the slicker dads of later times.

For geezers like myself, the 90-minutes amounts to a fond trip down memory lane. And given half-a-chance, younger folks might find it a worthwhile change from exploding cars and gutter language.

By 1949 radio was beginning to give way to television. The golden age of radio was reaching an end. THE LIFE OF RILEY (TLoR)had been on the radio for most of the 1940's and had quite a fan base. In 1953 William Bendix would take his radio show character Riley to television. However in 1949 fans were treated to a movie version of the show.

In typical TLoR fashion Chester Riley (William Bendix)spent most of the show confused as to what was going on around him. Basic elements of the show were present. Riley still worked in an aircraft plant, Riley was busy trying to control Babs dating life and Peg, his wife, showed everyone who really wore the pants in the house. Riley was still the "everyman" struggling to make ends meet and get ahead.

Somethings I didn't care for were the actors who portrayed Riley's children Babs and Junior. They were a far cry from their radio counterparts. Junior was so underused his character was more of a cameo. Gillis, Riley's neighbor, co-worker and friend from Brooklyn, seemed old enough to be Riley's father instead of his contemporary. Allan Reed, the future voice of Fred Flintstone, was in practically every episode of the radio show and often played Riley's boss Mr. Stevenson. It would have been nice if he had been in the movie as the Boss.

Somethings I did care for. The Riley's house was pretty much the way I imagined it to be. John Brown carried on his role as Digger O'Dell the friendly undertaker. The plot stuck close to the radio program.

Lastly, I think it is hard for a radio show to transition to film. The beauty of radio is that every persons imagination will portray what is heard on the radio in their own way. No film or television show can please everyone. Considering what TLoR was up against the end result was not too bad. It's a good view. Any fan of the radio program would enjoy it.

Too often Bendix was cast as a mental case who enjoyed smashing skulls, or his roles would take his gentle giant exterior to the extreme and he would be cast as an overgrown child as in "The Babe Ruth Story". This is the way I like to remember William Bendix - playing a family man doing the best he can in a world that tends to be a bit too much for him, with children that tend to be a bit too much for him too.

The plot here has to do with aircraft worker Riley's daughter preparing for her marriage to the son of Riley's boss. Neither loves the other. However, the son owes some gambling debts to some fellows that either want to start breaking big bills or the young man's legs. If the young man gets married he gets part of his inheritance and can pay off his debts. What's in it for Riley's daughter? The industrialist's son has told the girl that Riley is about to lose his job, but that his job would be safe if she married the boss' son. The girl therefore agrees to a marriage in name only to save dad's job.

I will tell you only this about how the plot works out. None of Riley's family has any idea that there is anything the least bit amiss in this situation until Riley sees the train tickets for the soon-to-be-married couple and discovers that his daughter and son-in-law will be honeymooning in separate compartments on the train. Riley's reaction - "Wow, when her mom and I got married all we could afford was one berth!" - and then it hits him that this lack of togetherness on one's wedding night is a sign of something more than an excess of cash on hand.

This film is a great slice of life of the new post-war American middle class of the 40's and 50's. Catch it if you can.