O Moço de Filadélfia

The Young Philadelphians is a curious mixture of Ross Hunter like soap opera together with a Tennessee Williams like hero and surprisingly enough it works most of the time.

Paul Newman is the hero whose very existence on the planet is a source of scandal. His mother Diane Brewster was disinherited by her husband's family when he killed himself on their wedding night. Newman's had to scrap for what's his in the world and isn't above using the bedroom to advance himself.

He's got a friend in Robert Vaughn who's also a black sheep in his Philadelphia Main Line family who gets himself in a jackpot when he's arrested for murdering his uncle. Newman, who's a tax lawyer, gets some on the job training in a criminal case, in defending Vaughn.

Like Katharine Hepburn in Suddenly Last Summer, characters like John Williams, Robert Douglas, and Frank Conroy seem above all to want to protect the family name. Hepburn was willing enough to have a lobotomy performed on Elizabeth Taylor and this crew seems ready willing and eager to send Vaughn to prison or the electric chair for the same reasons. Straight out of Tennessee Williams.

Newman shows some of the flash in his courtroom scenes, especially in his examination of Richard Deacon that he later showed in his Oscar nominated The Verdict which is my personal Paul Newman favorite. He trips Deacon the witness up with a piece of legal wizardry worthy of Perry Mason.

In the prologue of the film when the death of Adam West is shown on his wedding night to Diane Brewster the film is very discreet as to his reasons for doing what he did. It's explained this was a marriage arranged by his mother for the purpose of carrying on the family name even if it meant wedding a girl not from their crowd. He explains he has no interest in his wife and promptly goes out and dies in a speeding car crash. Today it would be far more explicit to say that maybe Adam West's character was gay. But we had the code in place back then and gay was invisible.

Robert Vaughn got an Oscar nomination for Best Supporting Actor and his harrowing scenes with Newman in the drunk tank got him that. He lost to Hugh Griffith for Ben-Hur, but it was the first real notice he got and the start of a long career. Look for good performances by Alexis Smith as the older woman Newman woos, Billie Burke as the daffy dowager, and Barbara Rush whose on and off relationship with Newman guides most of the film.

The Young Philadelphians is kind of old fashioned today, somewhat dated, but still is good entertainment and recommended here.

The Young Philadelphians had all the ingredients to become the most horrid American melodrama, in the worst 1950's style. Instead, it was cooked up to be one of the fine 1950's movies.

William Lawrence III (Adam West) was not, indeed could not be, the father of young Tony (Paul Newman). After William kills himself in a horrible car crash (suicide?), his Mother wants Kate (Diane Brewster) to give up the family name for her and her baby boy. Because she could reveal the reason for this horrid condition (Gasp! Is it possible that the marriage was not consummated because William the third could only "do it" with boys?), Kate secures the Lawrence name, if not the Lawrence money, to give Anthony a chance in Philadelphia society. Can you see the most awful melodrama developing?

Well, it turns out that further developments provide us with a balanced mix of humor, cynicism, drama, real emotions. This movie shows first rate acting and directing, and superb black and white photography. It gives us a glimpse of what appeared to be a pretty gruesome society scene. Apart from the unlikely happy end (I'm not giving too much away by saying this about an American movie of the 1950's), this is an interesting incursion in the period, with a healthy dose of social realism. As a bonus, we get to see Paul Newman out of his shirt in a steamy scene with a frustrated woman married with Newman's much older boss, a delightful Billy Burke in one of her last screen appearances, a tortured Adam West trying to deal with... (Oh! no, I can't say it), and a whole cast of believable, if not overly subtle, characters. We even get a bit of courtroom drama, à la Perry Mason.

This is an excellent way to spend a lazy Sunday afternoon...

Set in Philadelphia society in the 1940s/1950s. The two leads- Newman and Rush are excellent, but it is Vaughan as Newman's alcoholic buddy who gives the best performance- he was nominated for an Oscar. Billie Burke as the rich, eccentric little old lady is a delight. Alexis Smith as the attractive frustrated wife married to Newman's elderly boss gives a great performance. Several of the other supporting players- Keith, Picerni, John Williams as Rush's father, and Krueger as Newman's boss are excellent. I own the video and have watched the movie numerous times.

It has commonly been said that full-fledged soap opera can never be a real work of art, but this excellent film proves to be a glorious exception to that rule. Director Vincent Sherman's luminous film adaptation of author Richard Powell's best-seller THE PHILADELPHIANS manages to tell the story of at least two generations in a single picture without ever feeling cramped, forced, or haphazard. The film's story line that begins as a romance, evolves into an underdog business story, and ends as a courtroom drama, and Sherman impressively manages to take all of these various story threads and create a completely coherent motion picture that never feels disjointed or episodic. Sherman also keeps things movie at a remarkably brisk pace – the film never feels even half as long as it's 136-minute runtime.

The entire cast turns in superlative work, with Newman being particular well-suited to his role as a good-natured-but-flawed lawyer (he would return to this type of role with even better results in the 1982 classic THE VERDICT). Barbara Rush, Brian Keith, Dianne Brewster, Billie Burke, and Robert Vaughn are all excellent, and Alexis Smith is particularly memorable as sexy socialite. Speaking of sex, the film retains a surprisingly sensual aura throughout, which helps to keep it from aging for modern audiences. Inexplicably forgotten by many classic film fans, THE YOUNG PHILADELPHIANS is a moving, compelling motion picture that holds up remarkably well nearly fifty years after it's original release.

"The Young Philadelphians" begins on an odd note. A lady marries--only to have her new hubby say that he CAN'T consummate the marriage! I THINK this was implying he was a homosexual--but it was so vague you wonder if the man just didn't have a penis. All I know is that she stormed out--and later that night he killed himself. In the time between, she met with her old boyfriend (Brian Keith) and I THINK they implied they had sex. And, if we are to believe this odd build up, she became pregnant that night. The lady's brand-new mother-in-law wants to take the child and raise him herself--but the mother vows to do it without her dead husband's family's money. Years pass and the child is now a good looking college student (Paul Newman) who works for Keith (who you assume is his biological father). All this vagueness thanks to 1950s standards--which, in the case of this film, tended to weaken the narrative. I just wish they'd been a lot more explicit and this is by far the worst aspect of the film.

As for the rest of the film, it's very, very good. It's all about Newman and his rise as a lawyer in Philadelphia--and his dealings with the city's elite families. Much of the film simply chronicles his life events--his first love, his attending law school, military service and his rise through the ranks in the legal field. Despite this sounding rather pedestrian, it isn't--Newman did a great job and the script is very well written and with excellent dialog.

Later in the film, Newman has finally worked his way to being a very well-respected and successful lawyer. He has a chance to go into politics, marry a gorgeous women from the best of families and he has every reason to be happy. However, out of the blue, a new case comes along--one that could upset all of his plans. What's he to do? Overall, it's a film that is very, very good but with a small re-write it could have been a lot better. Either making the first portion tighter would have helped or simply eliminating this soap opera-like plot would have made the film stronger. But, looking past this, the film is still a very good and often overlooked Newman vehicle.

By the way, a few final points. My daughter saw this film with me and said that the small portion that takes place at the University of Pennsylvania looks like it was filmed at the school--as she recognized some of the buildings. Although IMDb doesn't say it was filmed there, it does say that the filmmakers did a good job making it look right. Also, to my knowledge, it's the only film I've ever seen about a tax attorney--and I'll have to tell my friend, Terri (a tax lawyer) about it! Finally, although I sometimes have disliked Billie Burke in films as she sometimes dominated the film too much with her ditsy act, here her bit part was fantastic--and used very effectively. I loved her in the film.