Impétueuse jeunesse

This film is a veritable treasure for those who appreciate small-town Americana at the turn of the century. Set in New England in 1906, we see the plethora of events typical of the era: the high school graduation with individual seniors singing, reciting poetry and the valedictorian speech; the Fourth of July celebration with fireworks and picnics; the careful relationships between the young boys and girls; the close-knit family life with a sister and brother of the parents living with them. I thoroughly enjoyed Clarence Brown's depiction of this lost innocent era, which produced a warm glow within me as I watched. There are very few belly laughs - one I remember was when the protagonist Eric Linden says to his not-so-clever girl (Cecilia Parker) "I was born 100 years before my time" and she responds "I was born 10 days before mine." But I found myself smiling often at the goings on. Eric Linden carries the film beautifully.

The rest of the cast is superb: Lionel Barrymore and Spring Byington as Linden's parents; Mickey Rooney and Bonita Granville as his younger siblings; Aline MacMahon as Byinton's spinster sister and Wallace Beery as Barrymore's alcoholic brother. But I was particularly impressed with Helen Flint playing the vamp who Linden gets involved with when he was drowning his sorrows. The title, by the way, is a line from the poem "The Rubáiyát of Omar Khayyám."

MGM's four big movies of 1935 were "Mutiny on the Bounty," "A Tale of Two Cities," "David Copperfield," and this one. It's the quietest of the four but to me the most impressive, a distillation of Eugene O'Neill's memory play (not his childhood, he said, but his childhood as he wished it were) that's bathed in nostalgia that's more potent and poignant than ever. Screenwriters Frances Goodrich and Albert Hackett get it past the Hays Office without really whitewashing its racier aspects (and Helen Flint's superb as the floozie who nearly corrupts our hero), and Eric Linden, who's entirely up to it, never again had this good a part. Top-billed Wallace Beery perhaps overdoes his drunken- charmer shtick, but Lionel Barrymore nicely underplays opposite him, and Aline MacMahon, always perfection, has one of her best roles--watch her reactions, how she plays love, disgust, and pity simultaneously. The rest of the family--Spring Byington, Mickey Rooney, Frank Albertson, Bonita Granville--are all exactly right. The MGM engineering--always-appropriate music, photography, costumes--helps rather than standardizes the material, the pacing's beautiful, and the warmth is unforced. You can weep at it and not feel like you're being manipulated.

"It seems as if we are surrounded by love" says Barrymore's genial patriarch at the end of this movie. To this viewer at least, the line has perhaps acquired an unintended irony as we contemplate the dulling nature of that ‘love'. O'Neill's work, which originally made gentle mockery of small town middle American taste and values, has perhaps unfortunately, these days gained an uncalled-for 'satiric' edge. The charm and skill of the original vision, captured by the craftsman-like direction of Brown, remains the same. What's happened is that the mildly eccentric, extended Miller family - one for instance in which Swinburne is considered shocking, and radicalism is half digested by callow youths (and then abruptly discarded) now appears stultifying, and we can too easily over compensate by allowing it the hues of a parody. Otherwise it takes a stupendous suspension of disbelief by today's viewer to accept the Millers on their own terms, apple pie and all, which is a shame.

A very young Mickey Rooney has a few scenes but is rarely allowed to really shine. This sort of role was no doubt good grounding for the enormously successful Andy Hardy series that lay ahead.

Wallace Beery, as Sid Miller, provides the most entertaining scenes in the film as he plays out another characteristically ungainly and comic romance, one typical of his screen roles. (Although he is given top billing, his screen presence is less sustained and more integrated than you'd expect.) Particularly memorable is the evening meal scene where he returns home drunk, and the family are gathered around the table to enjoy his antics. Even Lily, the woman who has consistently refused his repeated proposals through her distaste of his drunkenness, laughs at his comic behaviour. In this sense Beery provides a degree of liberation. The family is relaxed and draws together around the light of Beery's unthreatening inebriation. Some of his interior scenes remind one of W C Fields' work in The Bank Dick and It's a Gift, where he deconstructs the pretensions of middle class America with an anarchic sharpness that speaks to us much more directly today.

All in all it's a shame that the focus of the film is more on the young son Richard, whose unsteady standing on the border of manhood is never that enthralling. After a while his foibles and self-absorption become somewhat cloying, and one longs for Beery to reappear so that the fun can recommence. If Richard's on-off romance (and eventual drunkenness) is intended to parallel Sid's, then the comparison is very much to his detriment. Whilst Sid's romance seems important and meaningful, the son's is slow and irritates the modern viewer by the degree of feyness.

In short, an entertaining enough film, full of strong performances, but one which needs a dose of modern salt to make it just that little bit more palatable.

In a small American town, a young man from a good family faces some of the realities of maturity.

Clarence Brown's fond recreation of Eugene O'Neill's popular stage play AH, WILDERNESS! makes a wonderful celebration of basic American virtues. Attention to detail, coupled with excellent performances & MGM's best production values, results in a film full of quiet joys & sorrows.

The story follows young Eric Linden (in his best film role) during the one month period from his 1906 high school graduation until the Fourth of July, as he deals with the pangs & confusions of puppy love. His yearnings for his pretty neighbor and his experimentation with an older, much rougher sort of female, perfectly underscore the angst so often found in young adults regardless of the era. This is brilliantly displayed in the film's most hilarious sequence, the graduation ceremony which Linden hopes to sabotage, which reveals the honest insecurities and mawkishness of the senior class.

Wallace Beery, playing Linden's dyspeptic bachelor uncle receives top billing, and he is a scene stealer with much experience, but he acts alongside an equally good Lionel Barrymore, as Linden's father, who quietly underplays his role as head of the family. Each actor had a powerful screen persona, however neither attempt to dominate what is in effect a prime example of ensemble acting from the entire cast.

As Barrymore's spinster sister, Aline MacMahon is especially fine, her romantic feelings for Beery barely canceled beneath her prim exterior. Spring Byington, as Barrymore's wife, shows a touching sensitivity in her sometimes flustered, nervous concern for her brood.

Playing Linden's collegiate brother, Frank Albertson is good-natured and sturdy, and in a poignant moment gives a gentle parody of his own considerable musical talent by crooning ‘When Other Lips' from The Bohemian Girl. Bonita Granville & Mickey Rooney portray the youngest siblings in the family, with Rooney in particular having some very funny moments.

In smaller roles, Cecilia Parker is all innocence as Linden's sweetheart, while crusty old Charley Grapewin almost spits vinegar as her cantankerous father. Helen Flint gives a forceful performance, considering Production Code restrictions, of the wanton woman who attempts seducing the much younger Linden.

Movie mavens will recognize an uncredited Eily Malyon as the family's Irish maid.

The title is an ironic reference to a line from The Rubáiyát of Omar Khayyám. Will Rogers was originally pegged to play the role which ultimately went to Barrymore, but he backed out in order to make his tragic plane flight to Alaska.

Eugene O'Neill's gentle comedy about an American family living in a small town in 1906 shows us that our problems haven't changed, only the way we deal with them.

The story centers on Richard (Eric Linden) as he's about to graduate from high school. His summer is spent courting Muriel (Cecelia Parker) and planning to go to Yale in the fall. But he's restless without knowing why. His older brother (Frank Albertson) treats him like a kid, and his father (Lionel Barrymore) is having business troubles. And then there's drunken Uncle Sid (Wallace Beery) who breezes in and out of the house.

The mother (Spring Byington) is busy with the younger children (Mickey Rooney, Bonita Granville) and the spinster aunt (Aline MacMahon). Feeling alienated and alone, Richard goes to town with a friend (Edward Nugent) and gets mixed up with a woman from another city (Helen Flint) who's passing through town. Richard has his rite of passage and learns something important about himself.

Linden is excellent as the callow youth caught between adolescence and adulthood. His bravado shows itself in spouting poetry and speeches from plays. He's all talk. Beery gets top billing because of his box-office pull but plays a supporting role here. He's quite good as the boozy uncle who's sort of courting MacMahon (always good). Barrymore, Byington, Granville, Rooney, and Parker are solid.

But it's Helen Flint as Belle who nearly steals the film as the fast-talking city woman. She's excellent.