Meus Braços Te Esperam

This is the first of two movies about the same characters. Doris Day and Gordon MacRae play young sweethearts in this turn of the century inspired by the stories of Booth Tarkington. The story is told from her point of view and her home life with her mother, father and bratty brother are central to the film. Of the family members, the most memorable is Billy Gray ("Bud" from FATHER KNOWS BEST), as he is a terrible little brat that is a lot like Dennis the Menace and the Problem Child all rolled up into one. In particular, the portion of the film where he tells a HUGE lie to his school teacher is a riot!

The romance between the two is sweet, but in trouble because Gordon plays such a stubborn and overly opinionated "modern" man who doesn't believe in old fashioned conventions like marriage! Well, being a Hollywood film, and a very sweet one at that, you KNOW how the film will end. However, the journey there is so pleasant and so well constructed that you really don't mind at all! It's a delight for all.

Though it doesn't match the captivating staging of Vincente Minnelli's Meet Me in St Louis as a nostalgic period musical, both this charmer and its sequel By the Light of the Silvery Moon, based on Booth Tarkington's delightful Penrod stories, are very much in the same mold as the Minnelli classic; both films provide ideal vehicles for the multi-talented Doris Day, seen here at her most fetchingly tomboyish with her frequent on-screen partner at the time, Gordon MacRae. Their combined vocal talents bring genuine class to the turn of the (last) century tunes, providing a veritable cornucopia of some of the era's most recognizable standards. The pair create an easy chemistry mercifully free of the self-conscious projection so prevalent in many contemporary "feel-good" movies. Billy Gray, as Day's younger brother in his pre-Father Knows Best days was a likable and unspoiled child performer, who brought terrific comic timing in the delivery of his misplaced energies. Mary Wickes as the no-nonsense maid who acts as a kind of chorus to the action, is another notable scene-stealer, in a film which like so many of the early Doris Day musicals leaves this viewer with a warm glow.

I've seen this Doris Day-Gordon Mc Rae film a number of times. Actually I first saw it as a little boy when it premiered in 1951. I thought it was a fairy tale then and I still do now. But it's a delightful fairy tale and last night I shared it with my twelve and a half year old son.

A combination of "Father Knows Best" and "Dennis the Menace" with music, "On Moonlight Bay" gave American audiences during a Cold War and a hot Korean conflict the cinematic equivalent of comfort food. All the characters are witty and caring and there's mischief without mayhem. The only violence is a snowball fight and the sole injury is a twisted ankle. The sweetness of the courting couple is what we all want for ourselves but rarely if ever experience. With the mad senator from Wisconsin searching for communists everywhere, the script allowed its male lead to express extravagantly immature ruminations about the evils of patriotism before he, of course, awakened to his duty. This film is from Warner Brothers, the same folks who gave us the Department of Defense funded "Red Nightmare" with Jack Webb.

I wasn't surprised that my son liked the movie a lot. Even at his age he needs and appreciates a good escape from a world less gorgeously delightful than the screen version. Doris Day is very good although her real age is hard to disguise as she acts the teenager.

They don't make musicals like this any more. They can't. Our sensibilities and experiences demand the exotica of films like "Moulin Rouge." "On Moonlight Bay" is a great trip back to an increasingly questioning and insecure America that could imagine a past as happy as that portrayed in the film. I'll see it again. And again.

I was genuinely surprised by how charming and delightful this movie is. It's the movie previous to "By the Light of the Silvery Moon" but that one is not quite up to this. In this film, Doris' boyfriend goes off to WWI and in the next one he comes back, though that's not the major plot. Derived from Booth Tarkington's family stories about a prankish little boy yet modified as a Doris Day vehicle, every scene juggles different elements of character and motive, and much of it is just plain funny. You know how romantic musicals have certain conventions and complications that are supposed to be amusing but are just routine? Well, this actually made me laugh out loud several times. There's one sequence about the father's "drinking problem" that reminded me of a great episode of the "Dobie Gillis" TV show and must have inspired it. About as intelligent and fun as americana gets; they even have a sassy WHITE maid to avoid the racial stereotype.

Here's a nice little piece of cheerful entertainment from Warner Bros. with their number one sweetheart, DORIS DAY, doing her best to be a believable tomboy who turns to dresses when she spots the boy next door, GORDON MacRAE. With some perky period songs (it's from a Booth Tarkington story of small-town life in rural America), an ingratiating cast (Rosemary DeCamp and Leon Ames are perfect as the put upon parents), and Billy Gray as a bratty little brother, it's a nice bit of Americana spruced up by picture postcard technicolor.

Doris Day and Gordon MacRae are clearly too old for the roles they play but here it doesn't seem to matter--their courtship scenes are charming and both display their unique vocal abilities in a number of songs. Especially good is Jack C. Smith as Hubert, Doris' persistent suitor who won't take no for an answer. And Ellen Corby is a delight as a schoolteacher intent on straightening out the misbehaving Billy Gray, who all but walks off with the film as the kid brother from hell.

Very pleasant family film, very much in the tradition of others like MARGIE, LIFE WITH FATHER and MEET ME IN ST. LOUIS, with its own brand of charm. Good light entertainment, the kind of musical not made these days, unpretentious and sometimes wickedly funny. Mary Wickes, as a maid who is constantly dropping the silverware, gives zest to her role as a cook who can make her one-liners sound inspired.