Je retourne chez maman

This is a real gem of a film. It is a comedy/tragedy, but in such a way as to be able to flow easily from the two formats. Thus the viewer is never fully laughing or crying throughout the film, but at different moments. It works. The film is told in flashback, and each of the remembrances are told in short vignettes. Judy Holliday is wonderful in her role, and the much underrated Aldo Ray is also brilliant, they are a perfect match. The acting by both the leads is terrific and believable, and there is some wonderful location photography of early 1950s New York. A really great film worth seeking out.

Lesson learned from this film. Don't take yourself too seriously and appreciate the life partner you have before you lose them by saying the wrong thing(s). Judy Holliday plays Florence Keefer a secretary at a busy office and her husband Chet Keefer suffers a debilitating work accident that leaves him almost useless as the family breadwinner. In any marriage there are ups and downs and sometimes depression and dissention get the better of one or both partners. Such is the case with Mr. And Mrs. Keefer who end up in divorce court where a wise judge decides to put off her decision overnight and let both parties sleep on their decision but first they walk Judge Anne B. Carroll (Madge Kennedy) through their marriage and family turmoil from each of their perspectives.

Any film with Judy Holliday is worth watching and the (then) novice Aldo Ray both showed their acting chops. I am sure many moviegoers were wiggling rather uncomfortably in their theater seats reflecting on their own marriages and the silly fights that were relevant on screen to their own life experiences.

This film may be seventy (70) years old now but the trials and tribulations of millions of married and/or cohabitating partners could learn from the film The Marrying Kind.

I give the film a quality 6 out of 10 IMDB rating.

This film is highly reminiscent of Judy Holliday's other film, PHFFFT! because both films concern a divorcing couple that down deep still love each other dearly. Also, in many ways it is reminiscent of THE WAR OF THE ROSES in that it appears to be a cautionary tale about marital discord, but unlike this Danny DeVito movie, THE MARRYING KIND is more upbeat and doesn't have the same dark sensibilities as WAR OF THE ROSES.

The film begins with a husband and wife in divorce court. Instead of just granting the divorce, the judge brings them both into her chambers to discuss why they want the divorce since it isn't readily apparent. Both Holliday and Aldo Ray (who plays the husband) then begin to recount their marriage through a series of flashbacks. The flashbacks are incredibly well-acted and realistic--like a real honest to goodness family. While most of their ups and downs seem pretty normal, great tragedy strikes later in their marriage (get out the tissues!).

All of this is wonderfully done, but also VERY tough to watch as things turn from bad to much worse. Plus, after a while, the tragedy and pain becomes a little too much and seems to drag on a bit too long. Shortening up the film by about fifteen minutes would have greatly helped the pacing. Despite these problems with the film, though, the film is marvelously realistic and great film-making. In many ways, this is a must-see film for young couples or anyone contemplating divorce, as it gives an unusual perspective and insights you just don't normally see addressed in films.

From 1952 director George Cukor (A Star is Born/The Philadelphia Story) directs Judy Holliday (who he reunites w/after her Oscar winning turn in his Born Yesterday) & Aldo Ray (in his screen debut) in this drama about a marriage fraying at the edges. Opening up at a divorce hearing at court, a judge takes the feuding couple into an office & there they lay out the genesis of their union & what led up to where they are now. We see their blue collar straits, he works at the post office while she's a stay at home Mom rearing a boy & a girl. She wants to move ahead & yearns for a chance to do so (in one episode she calls into a radio show to answer a question & Ray feeds her the wrong answer) while he seems to be happy at his status quo. Things take a turn when their son dies in a freak accident at a lake which causes all the recriminations & regrets to boil over into constant arguments which culminates when she receives a check from a deceased boss which stirs Ray to think the worst of Holliday figuring she was romantically linked to him. Will the union give up the ghost or save itself in the final moments? Cukor was wise to cast these earthy actors (in the heated throes of argument you can almost hear your neighbors going at it in any big city) dig into these meaty roles (a turning of the tide was on the horizon for the accurate portrayal of real people, working class American accents & all, to be seen on the big screen). Co-written by Ruth Gordon (the some time actress) & Garson Kanin, this yarn set in the boroughs of the Big Apple crackles w/authenticity & heart.

The story follows a young couple through courtship, honeymoon, parenthood and breakup.

The movie looks like a worthy experiment that doesn't quite work. The problem—as others point out—lies with the abrupt change of tone in the movie's middle that causes a radical re-adjustment on the viewer's part. To that point, the style is generally charming and light-hearted, appropriate to the couple's courtship and honeymoon period. I love the way each remembers the past the way he or she wants it to be, while the camera in flashback shows quite the opposite. It's pretty funny. This early part also provides Holliday with opportunity to show off her inimitable comedic style.

But then the tone goes deadly serious, befitting, I guess, the tragedy and troubles that enter the Keefers' life, eventually leading to a breakup. Note in this half how much of the staging has the couple in various stages of unglamorous undress while yelling at one another. Clearly, the idea is to show the other non-cute, deglamorized side of marriage that old Hollywood in its preoccupation with escapism didn't often show. In that sense, the movie's a rather daring stab, for its time, at marital reality.

The trouble, however, is that the two halves clash with one another in both style and content, creating the impression of two movies instead of one. I wish director Cukor had tried shaping the second-half material to the entertaining style of the first half. That might have worked, given his legendary level of expertise. But the way things stand, not even Holliday's talent can paper over the mis-match. Also, I noticed that the actress's comic book voice, so well adapted to comedy, becomes shrill and annoying in the heated exchanges with movie husband Ray. From that standpoint, she was wise to stick to laughs in what remained of her tragically short career.

This is not to say the movie's without compensations. It certainly has its funny moments, while actor Ray's boyish appeal looks just right for an engaging average guy. However, the central problem remains, despite the talent and gutsy stab at reality.