Un Américain pur sang

There are lots of movies you can point to and assume they were Robert Young's audition for Father Knows Best, and when Joe Smith, American starts, it seems like it could fall into that category. Robert is a happy family man, a hard worker, and as devoted to making his wife happy as he is to teaching his son good values.

However, Robert gets a promotion and takes part in secret government plans to help out the factory during wartime. One night, he gets kidnapped, beaten, and tortured to try and extract government secrets. This is not your average Father Knows Best episode.

If you're looking for two movies out of Robert's career to make you say, "I didn't know he had it in him!" then rent The Wet Parade and Joe Smith, American. There's a common phrase we at The Rag like to say about performances snubbed by The Academy, "What does it take?" While that phrase certainly applies to Robert's performance in this film, there's another phrase that also applies. Here at The Rag, we happily brag that the actors and actresses honored with awards and nominations "couldn't have been any better." This high praise is well-earned. Rent it for a very heavy, very raw, Rag-nominated performance by Robert Young.

I haven't seen this movie in about 40 years but it scared the daylights out of me as a kid. To me Robert Young was Jim Anderson, the exemplary dad of Father Knows Best. So it was really disturbing to see him captured by enemy agents and tortured. I don't remember what they did to him but it was terrible. It seems like they smashed his fingers with pliers. Another cool aspect of this movie is the way Robert Young was able to remember the way to the enemy agents' hideout by sound, even though he was taken there blindfolded. To this day I try to listen to what things sound like whenever I am traveling some place, in case I have to go back there again.

This movie also has an excellent visual texture to it -- shot in black and white with terrific use of shadows, sinister bad guys in dark clothing, bulky old cars.

Interesting movie on a number of levels. As a patriotic retrospective it is good to see how well the "pledge of allegiance" stands up without the "under G*d" inserted by the brave cold warriors of the Eisenhower era and defended with such valiance by the boobs of the new millennium.

Another poster mentioned a strange fascist-like salute to the flag. What they were doing was not saluting the flag. When they stood sideways and raised their right hands, palms forward, fingers flattened and pointing at the flag, they were *presenting* the flag as one would present an honored guest at a banquet. I remember doing that as a child in school.

This is an exceptionally well-written and directed B-film from MGM directed in crisp, tense style by RICHARD THORPE.

ROBERT YOUNG is at his most affable best as a typical young man of the '40s era who is sought by the government to work on plans for a new bomb-sight design which he must keep top secret. Spies kidnap him and it's while he's being held hostage that he forces himself to remember how he met his wife (MARSHA HUNT) and there are a series of homespun scenes with Young and his son, DARRYL HICKMAN.

But even though loaded with flashbacks, Thorpe keeps the action and suspense alive by cutting back and forth between those scenes and clips of his brutal torture by the spies. Fortunately, he keeps his wits about him and is able to recall various things about the hiding place and his captors that help the FBI capture them in the end. A clever series of incidents leads to the manner in which he's able to lead them to the hideout.

Well done in crisp style with Robert Young and Marsha Hunt making an attractive pair in the leading roles. Darryl Hickman is effective as the son who has a secret of his own that he's unwilling to tell.

Well worth watching as a bit of American propaganda at the outset of WWII.

Refreshingly free of cant and surprisingly low on propaganda, Joe Smith American is one of the best 'B' features you'll ever see--it was so good, in fact, that it opened in 1942 atop the bill at movie theatres in New York City. Robert Young plays the titular character, an all American 'Joe' who won't spill his guts about a secret bomb sight to the bad guys--even after being tortured and threatened with death. The torture sequence is surely one of the most grueling things committed to celluloid from the period, and in addition to being spectacularly shot by Charles Lawton Jr. was masterfully lit by one of MGM's superbly trained and uncredited craftsmen. The cloth binding used to blind and gag Young, coupled with the narrative use of his inner voice, anticipates the bleak and distressing Johnny Got His Gun by thirty years. And while the film is certainly a tribute to American patriotism--witness the fascinating schoolyard rendition of My Country Tis of Thee, complete with an odd fascist style salute to the flag--it pointedly allows Young's character to sleep in on Sundays and miss church!