Le chevalier de Bacchus

Van Johnson and Elizabeth Taylor did two films together during their tenure at MGM and The Big Hangover is the first of them. He's a young law school graduate, top of his particular class, who is applying for an opening in a very prestigious white shoe law firm. She's the daughter of the firm's senior partner Percy Waram and she's crushing out big time on Van.

Van's got one unusual case of shell shock during the war. Two things happened to him, he had a close friend die in his arms in a plane being shot at with anti-aircraft guns and he nearly drowned in a cellar of a monastery that was being used as a hospital. The monks in the place made wine and after spending a good deal of time up to his neck in the stuff, the slightest taste or smell of liquor gets him cockeyed drunk.

It's an amusing bit for parties, but not at all social or business occasions. Liz turns amateur psychologist to discover what's ailing Van.

The Big Hangover is an amusing comedy from MGM, not hardly in the top ten of films for either of its leads. It does have an interesting subplot involving discrimination and the enforcement of anti-discrimination laws that were being passed by a lot of states at this time, New York among them where the story takes place. A Chinese doctor, Philip Ahn, is being thrown out of an apartment the owner is represented by Percy Waram's firm.

Which leads to the highlight of the film and the best performance in the film by Leon Ames who plays the city attorney who is charged with enforcement of the non-discrimination statute. After Johnson chastises him, Ames gives an eloquent statement about how money and success are the gods we cherish.

The Big Hangover is amusing in spots, is serious in spots, has a bit of trouble making its mind up whether it's a comedy or a drama of social significance. Still it is entertaining and fans of the two stars should like it.

This Big Hangover gives the audience a big hangover. There are several problems with this film.

First, with a title like "The Big Hangover" you would normally think that this is a comedy. There are no big laughs.

Next, the Hair of the Dog is significant because there is a talking dog in the movie. Once again, no laughs.

Next, in 1950 Van Johnson was 35 years old, and Elizabeth Taylor was 17.

Next, while always beautiful, Liz Taylor at 17 is completely unconvincing as an adult psychologist.

Finally, the concept of PTSD was not yet recognized in 1950. Obviously, many WW II veterans were suffering from PTSD and this movie does not take that seriously. If you want to see a good movie about WW II PTSD watch "The Best Years of Our Lives."

This 1950 film was a sleeper at the time and is now considered a classic. Starring Van Johnson [at his peak] and Elizabeth Taylor [at her early MGM grown up best] it tells the tale of a young man with allergies to alcohol and the boss's daughter who crusades to help him overcome his problems. The supporting cast is one of the finest MGM group of veterans ever presented in one film along with a talking shaggy dog [at least Van can hear him].

Percy Warham [notable English actor] and Fay Holden [Judges Hardy's wife] play the parents of Miss Taylor. Edgar Buchanan [that gravel voiced actor from PETTICOAT JUNCTION] outstanding in his role, and Selena Royale play aunt and uncle to Van. Leon Ames [of MEET ME IN ST LOUIS] and Rosemary DeCamp [from TV's LOVE THAT BOB] play a couple struggling to survive in the field of law [she's his wife] with Philip Ahn as a victim of racial malpractice and trick legal maneuverings.

Miss Taylor never looked lovelier in her Edith Head gowns and Van is just plain charming. They both underplay their roles and give very believable performances. Directed and written by Norman Krasna [playwright of KIND LADY, DEAR RUTH, SUNDAY IN NEW YORK] this is well written and directed.

I had the privilege of working with Mr. Buchanan years ago at the Pasadena Playhouse in SEND ME NO FLOWERS. He was wonderful to work with and to know. Having started out as a dentist then turned actor, he had such wonderful funny stories to tell us all.

"The Big Hangover" is a rather unpleasant film that seen today doesn't play well. Acting-wise, the cast is very attractive: a gorgeous Elizabeth Taylor, then 18 years old, Van Johnson, Leon Ames, Rosemary DeCamp, Percy Waram, and Edgar Buchanan. Johnson plays a law student on the GI bill who's about to graduate. He has an embarrassing problem with alcohol: one taste and he's plastered. He talks to lamps; he thinks his dog is talking to him; he sings loudly at a formal alumni dinner. His boss' daughter, Taylor, who once worked for a psychiatrist, wants to cure him.

All of this has the makings of a comedy, except the film takes a turn with the introduction of a subplot where a Chinese man and his wife are denied an apartment. Johnson believes the matter to be resolved in the man's favor, and then learns that the law firm he works with has lied to him. This has the makings of a good drama, with Johnson having to face some cold facts of life and decide what he wants to stand for in his career.

But as neither comedy nor drama, the film ends up as not much. There's an aggravating scene where one of the good old boy attorneys spikes Johnson's food at the alumni dinner to watch him get plotzed. It's mean-spirited, and it makes you wonder why the other people at the table are laughing.

Despite its excellent cast and good performances, The Big Hangover is more of The Big Waste.

Van Johnson portrays a young World War II veteran who, upon joining a prominent law firm, attempts to avoid scandal stemming from his allergy to alcohol. He forms an alliance with the daughter of the firm's leader, played by Elizabeth Taylor, and their romance is light hearted and moderated with realism. Ensemble playing from the talented cast is top-drawer throughout, with excellent timing ever in evidence. A shadowy sub-plot dealing with racial prejudice (victims: Chinese) is not overdone and is necessary for developing the film's principal theme: the inherent value of performing public service. Playwright Norman Krasna, who wrote, produced and directed this understated comedic drama, keeps matters moving briskly, while allowing scenes to develop properly by emphasizing the sharp dialogue, some of which is startling with its insight. There is good acting aplenty, by the mentioned leads as well as by Leon Ames and Edgar Buchanan; but the honors must go to the veteran English stage performer, Percy Waram, whose delivery is perfection.