HotToastyRag

I don't know anything about European film censorship, but I did study the American Production Code, whose first chink in its armor was Otto Preminger's The Moon Is Blue. What most filmgoers might not know is that Preminger filmed two versions at the same time using the same sets; the German version was entitled Die Jungfrau auf dem Dach (literally "The Virgin on the Roof"). In America, it was a huge barrier-buster to discuss virginity in a movie (or even say the word), and for a girl to contemplate going to bed with a man she just met mere hours ago - in what was supposedly a light comedy.

The biggest difference between the two versions is the age of the main love interest. In the American version, William Holden is significantly older than Maggie McNamara. In the German version, Hardy Kruger is only six years older than the young Johanna Matz. When the "other man" shows up and conducts his own "counter seduction" plan with the girl, in the German film, he's immediately a father figure to her. In the American one, since Bill is also older, when David Niven arrives, it's not as clear-cut as to who she'll pick. It's more of a love triangle rather than a regular romance with a helpful older fellow providing some perspective and gentle nudges.

I'm just not a fan of this story and screenplay. I can't stand Johanna Matz's character. She's supposed to be twenty years old, but she has the maturity of a child half her age. Her personality is so off-putting, it's hard to believe the ridiculously cute (and experienced) Hardy wants anything to do with her. She's annoying, immature, strange, nosy, inappropriate, controlling, self-centered, and unrealistic. Plus, she won't stop talking! This is a very wordy flick, so you've got to read those subtitles fast. It's not my cup of tea, but then again, I've never been one to find "kooky" charming. The best part of the film was seeing the adorable cameo in the end of William Holden and Maggie McNamara (and in The Moon Is Blue, Hardy and Johanna give the cameo).

Is there anything more appealing than a goody-two-shoes winning over a big bad wolf? Every girl wishes she had that power. We all go for the bad boy, hoping we'll be so incredibly special, he'll change his ways just for us. Indeed, the reformed bad boy is probably the most desirable fellow you'll ever meet. So, if you want to see John Wayne (who always plays upstanding moral characters) playing a bad boy gunslinger who gets won over by a Quaker, check out the aptly titled Angel and the Badman.

Oh, the moony eyes! If anyone looked at me the way John Wayne looked at Gail Russell, I'd marry him. Gail gets swept away by his eyes as well, and is ready to leave her loving family, her homestead, everything she's known, if he asks her to come with him. He spends three weeks recuperating from an injury in her family home, cared for by her and her parents. When she sees him shirtless, tossing, turning, and moaning in his fitful sleep, she falls pretty hard. Even though he tries to warn her that he's bad, she has faith that all he needs is the love of a good woman to bring out his own goodness. If it were anyone else but John Wayne, we might think he's playing her and giving her every line in the playbook. But Duke is always a straight shooter (no pun intended) and he doesn't lead Gail on with any ulterior motives.

Is this film predictable? Sure. Is it white-hat-black-hat? Absolutely. But this is a universally appealing romance. It doesn't matter if she's a Quaker, a nun, a schoolteacher, or a kindly social worker. It doesn't matter if he's a gunslinger, gambler, alcoholic, or convict. We love the romances in The African Queen, Guys and Dolls, Heaven Knows Mr. Allison, Father Goose, and countless others. If she's an angel and he's a bad man, we're hooked.

From start to finish, Without Reservations was one irritating movie. I actually had to fast-forward scene after scene just to make it through to the disappointing end. Claudette Colbert played a ditzy authoress en route to Hollywood to get her book turned into a film starring Cary Grant (who has a hilarious cameo). I'm not trying to be mean, but Claudette was too old for this role. She was a mature woman in her forties, and her hand-wringing, giggling, space cadet routine didn't work anymore. It was annoying and made us question her mental health. She wasn't the only one, though. Anne Triola's entire part was unnecessary, and every time she opened her mouth to spew nonsense, I gritted my teeth and reached for the remote. There was no reason for her! She was a waste of film. As was Don DeFore, poor guy. He played John Wayne's utterly useless friend and sidekick. He merely existed to rattle off needless one-liners and act as chaperone for Duke and Claudette.

When it's clear Don has fallen in love with Claudette, and Duke treats her like garbage, there's no reason why Claudette wouldn't switch her affections. Oh, I forgot. John Wayne is the headliner. It's a stupid story with irritating characters and an unlikable romance. If you want to see Claudette having trouble while traveling by train, stick with The Palm Beach Story. She's only four years younger, but the funny screenplay doesn't make her seem like she has brain damage.