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"Born Yesterday" is a comedy with some serious ideas behind it. The film does a wonderful job in its subtle take about corruption in high places, the role of the lobbyists and influential people in Washington politics. The movie presents an interesting aspect for today's audiences, as things related to the film have been in the news lately, making the film relevant.

The comedy by Garson Kanin ran for years on the New York stage. Judy Holliday had starred on Broadway opposite Paul Douglas. For the movie version Broderick Crawford was selected. George Cukor directed with his well known style and getting excellent performances of this ideal cast.

The film is the gem it is because the great star turn by Judy Holliday, an actress that was unique in everything she did. Billie Dawn was one of the best achievements in the movies. Ms. Holliday was an intelligent actress who knew what made her character work. She made a wonderful contribution with Billie, who in spite of being supposed to be a girl without brains, Ms. Holliday shows her to be a smart no-nonsense woman with more common sense than anyone could give her credit for.

Broderick Crawford made quite an impression as the ruthless Harry Brock, a man that can't see the goodness in Billie. He constantly belittles her and even goes as far as slapping her on occasion, but that is what someone like him would normally do when he can't get his way, or thinks is being threatened by a woman like Billie. Mr. Crawford was a wonderful actor as proved in his appearances in Fellini's "Il bidone", and in "All the President's Men".

The other good performance was William Holden, who as Paul Verrall, transforms Billie from an abused woman into someone that is not afraid to open her mouth against the bully that has been taken her for granted for a long time. Mr. Holden clearly understood the man he was playing and makes a wonderful match for Ms. Holliday.

"Born Yesterday" is a fun film to watch because all the elements that went into it and the inspired direction George Cukor and the ensemble work of the cast, but especially from its star, Judy Holliday.

There were moments, in Born Yesterday, when Judy Holliday reminded me of Lucille Ball doing her famous hair-brained TV character--but doing a better job of that kind of funny, I thought. In black-and-white, there are some physical resemblances between the two, but Holliday's comedy in this picture is nuanced, rather than milked. It's a surprise, but a nice one, to read that she beat out two famous performers in two dramatic films--Sunset Boulevard and All About Eve--to take Best Actress Oscar for this comic role.

Holliday and Broderick Crawford's "funny" voices--perpetually raised and in a key of harsh could have been awful, but they remain hilarious from front to finish. I admired how the script and the director avoided some obvious, easy to imagine pitfalls with this story arc. Holliday's character may have an intellectual and moral awakening, but she's still swapping loud brash repartee with her Harry all the way through.

At points, this picture made me think of some of my favourite French films in which minor or unglamorous characters, who would occupy cinematic bit parts in most movies are pushed into the spotlight for a closer look. Born Yesterday engaged in that kind of affectionate recasting and gave these actors room to strut their classic best.

Judy Holliday rightly won the best actress Oscar for her portrayal of dumb blonde kept woman Billie Dawn, a role she successfully played on Broadway in the stage show production. Yet to only mention her would be doing a disservice to the films other strengths as it has many to justify it being labelled a classic of its time.

Billie Dawn is the girlfriend of scrap metal magnate Harry Brock, she's not that bright and Brock uses her as a front for some less than honest dealings. Sure he cares but his treatment of her borders on the repulsive whilst still managing to get the ribs tickled, Brock worries that her dumbness will do down important business issues socially, so he arranges for the calm and well spoken Paul Verrall to be her chaperon and train her to be eloquent and more astute of the world and its history.

The film then becomes your standard Pygmalion story as the nice but dim Billie not only learns about the world she lives in, she also learns about the world SHE HAS been living in, and coupled with the sexual awakening she finds with Verrall this fills out the rest of the story. It's full of delightful scenes that linger long in the memory, and outside of Holliday's brilliant performance, we get a wonderful example of the polar opposite Male love interest, Broderick Crawford as Brock is a maelstrom of shouting daftness, a man that makes you cringe such is his buffoonery. On the other hand we get the serene and well mannered Verrall played with the right amount of pathos by William Holden, and it is with much credit that amongst the loud brash shows from the other stars, he remains more than a distant memory.

The comedy here will make you cringe one minute, and then have you giggling away the next, all the chief characters here engage you in the way they are meant to, the climax may be a bit too condensed for some but it's a fine ending that befits the previous efforts you have just witnessed, and I defy anyone to not laugh at the gin rummy sequence! 8/10

A brilliant Judy Holliday performance is the main attraction in this witty, brisk adaptation of Garson Kanin's Broadway success. As a gangster's moll who gradually awakens to her civic responsibility, Holliday expands her dumb-broad persona from her previous film with Cukor, Adam's Rib, into a character who's sweet, memorable and surprisingly tough.

Born Yesterday is a suitable companion piece to Frank Capra's Mr. Smith Goes To Washington, a much more self-consciously "important" film that imparts similar messages about political corruption and the responsibility of individuals to require ethical governance. The message is arguably more powerfully imparted here - filtered through the perspective of the selfish, spoiled and barely-literate Ms. Dawn - than in the film focused on Jimmy Stewart's eloquent (and intimidatingly ethical) Mr. Smith, an "everyman" who is vastly morally superior to most audience members.

William Holden is relaxed and charming as the Henry Higgins-ish newspaper man tasked with opening Billie's eyes and Broderick Crawford is suitably broad and menacingly raspy as her corrupt, vulgar boyfriend. However, the movie is all Holliday's from the opening scenes, which play on the audience's lack of familiarity with the actress by presenting her as a refined, statuesque beauty in an extended sequence until, at last, she squawks out her first lines in nearly impenetrable, helium-voiced Brooklynese to hilarious effect.

A richly deserved Best Actress Oscar for the newcomer Holliday, despite formidable competition from grande dames Bette Davis (All About Eve) and Gloria Swanson (Sunset Boulevard).

She bursts into the screen. Every tiny little nuance in her extraordinarily telling eyes are absolutely true and we surrender to her persona without even thinking about it. She was miraculous. "I'm stupid and I like it" she tells William Holden with devastating sincerity. She exudes such honesty that it's impossible to be indifferent to her. Ruth Gordon and Garson Kannin concocted a realistic fairy tale that Judy Holliday inhabits (rather than inhibits)with overwhelming naturalness. It is a sensational creation and George Cukor, as usual, puts the camera at her service to magnificent results. Look at the card game, no cut aways from her face for which, I was enormously grateful. If you haven't seen it, rent it now. You'll have an unforgettable time.