Os Viúvos Também Sonham

I had never seen this movie before renting it the other night and was surprised to see it was directed by Frank Capra. Once I watched it, I wasn't surprised anymore. This was a wonderful film driven by characters rather than plot devices and an example of vintage Capra.

The performances are what make the film. Frank Sinatra was great as a self-centered dreamer with a new idea every minute and some method of working the system. The guy's a heel but he still manages to keep our sympathy. Edward G. Robinson is hilarious as his much-put-upon brother who is constantly making social gaffes and never figures out how to sit in that rocking chair! Despite the fact that his character is a comic figure, there are some scenes of real poignancy between him and Sinatra. The ever reliable Thelma Ritter is also very funny as Robinson's caring and weepy wife. Eleanor Parker! Wow! I never saw her look so good. There wasn't enough of her in this film but perhaps that's when you know a character succeeds, when you wish to see more of them. Her gentle elegance was a perfect contrast to Carolyn Jones' character's unabashed self-absorption. And Eddie Hodges was perfect as the boy old beyond his years who stubbornly loves his father no matter what.

And the ending is happy (Hey, it's a Capra film!)without resorting to any schmaltzy plot devices.

It was well worth my time.

Adaptation of Arnold Schulman's play by the playwright concerns feckless Miami Beach widower with a young son who needs a fast loan to save his ramshackle hotel, considering the idea of marrying into money with a shy (but beautiful) young widow. Slick but not very moving comedy-drama won an Oscar for Jimmy Van Heusen and Sammy Cahn's memorable tune "High Hopes", but--with Frank Sinatra, Edward G. Robinson, Eleanor Parker, Carolyn Jones, and Thelma Ritter in the cast--it should have been much better. The youngster is played by Hollywood-smart Eddie Hodges, who is decent with the kind of lines concocted for him. Frank Capra directed, weakly. Some good scenes, but it runs too long at 120mns and has too few jokes. Capra received a DGHA nomination for his direction, while Schulman was a WGA nominee for Best Written America Comedy. **1/2 from ****

Maybe it's me but I think this movie, Frank Capra's second-to-last, has aged really well. It seems very relevant today. Frank Sinatra is very convincing in the lead role as Tony Manetta, a ne'er-do-well struggling to keep his head above water, but the key character in the film is Edward G. Robinson's Mario, Tony's uptight, shopkeeping brother, who's come down to Miami to bail him out, but not without conditions. While Tony will always be Tony, it's Mario who will have to learn to appreciate him. There is great supporting work all around, by Thelma Ritter, Eleanor Parker, Eddie Hodges (unfairly buried in the credits), Carolyn Jones (remember The Munsters?), and my personal favorite, Keenan Wynn, as an old buddy of Tony's who knows him too well to be conned by him. Features the famous song "High Hopes", sung by Frank and Eddie.

Tony Manetta (Frank Sinatra) hitchhiked to make it big in Florida with his two best friends, Jerry Marks and Mendy. Jerry became a rich promoter while Mendy ended up driving a cab. Tony is still trying to make it big with his girlfriend Shirl (Carolyn Jones) and his young son. He needs rent money. In desperation, he calls his estranged brother Mario Manetta (Edward G. Robinson) who insists on setting him up with Eloise Rogers (Eleanor Parker).

This is based on a play and directed by Frank Capra. It has the great "High Hopes" song which won an Oscar. It's also notable for being a colored Capra film. He would soon retire early from filmmaking. The cinematic world is changing in many ways and he's missing the train. As for this movie, the story is a darker one although Capra still leaves his mark. I have to say that Tony does not deserve either women. He is the worst when it comes to the fairer sex. I like the steady decline with Tony's journey. That's why I don't like the ending. I don't know how the play ends. I don't like this ending. If Capra is willing to do a sad ending, I can see him continuing to work and adding another chapter to his legacy. I like this movie except the ending.

I keep saying that Hollywood can't go wrong when it picks a PLAY as the basis for movies. This film is one more illustration of the correctness of this thesis. It's full of charm, humor, warmth, relevance and STRUCTURE. It doesn't seek to impress, just to please. And pleasing is no mean accomplishment.

The subject is taboo in most movies: economic dependence on relatives. In most movies money is no object, a purely tangential issue, when in fact it plays a huge role in real life. Sinatra plays a "loser", and to make him less despicable, he is adorned with a lovely young son. I find that a bit too manipulative, as if the writer weren't sure that a childless "loser" would be likable enough. Sinatra is very good in the role, but I would have picked an unknown actor, to make the role more believable. And, wonderful as Eddie Hodges always is, I think a childless "loser" would have been more poignant.

I liked the ending very much. It is happy, but not in the trite and trivial way. The main character does NOT overcome his limitations! This film is in the wonderful tradition of "Harvey", which also deals with an embarrassing family member. I can't recommend both films highly enough.