Le chevalier de Bacchus

This movie is based on a very contrived plot device. Van Johnson plays a man who has a peculiar sort of reaction to alcohol--the type you'll only see in movies and I doubt if anyone on this planet does what his character did. While the IMDb summary says he passes out when he drinks, this is NOT the case. Instead, even the smallest taste of alcohol sends him into a fit where he behaves roaring drunk for several minutes--afterwords, he has no clear recollection of his behaviors. As I said, it's contrived--but also odd because the film really isn't exactly a comedy--in fact, much of it is VERY serious. In fact, with a subplot involving racism, the mix is uncomfortable and bizarre to say the least.

On the plus side, the film has very good acting. Van Johnson, despite the material, is excellent and he's given tons of support from the likes of Liz Taylor (who is at her radiant best), Leon Ames (whose speech at the end is terrific), Gene Lockhart (June's father) and Edgar Buchanan--among others. It is clearly filled with quality actors. It's just too bad that the script itself isn't high quality. In fact, it could clearly have used a re-write. It's a B-movie script with A-list actors and production values. Not a bad film but not at all a good one either.

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.

Plot--A top-notch law student is courted by a powerful legal firm. Trouble is the budding legal eagle gets silly drunk on just a taste of alcohol. Of course, that creates problems in the boozy world of formal dinners. And, oh yes, something about a Chinese man losing his apartment because of discrimination gets dropped in.

I was curious. The production has two of MGM's brightest young stars, Taylor and Johnson, yet I'd never heard of the movie. Now I know why. It can't make up its mind what it is— comedy, social conscience, drama. Okay, some movies manage to combine the three into a luminous package, like The Apartment (1960). But that film benefited from the versatile Jack Lemmon in the lead. Now Van Johnson could do light comedy, especially with engaging dialog. And that's the trouble here. In a difficult role that calls for traversing from bibulous one-liners to sober righteousness he looks dour throughout, turning many of his sudden inebriated moments from humor to confusion. I'm not sure what the cause was, but the results look like miscasting. Trouble is that his is the central role, and thusly the movie as a whole is compromised.

Not that the script is any help, especially the fancy dinner scene that's almost painful in its misplaced humor. Then too, the pregnant premise—getting drunk on a mere whiff of alcohol —is a tricky one that might work in a different context, but not here. Anyway, Taylor's gorgeous, while about every middle-aged actor in Hollywood picks up a payday. But whatever impresario Krasna was reaching for just doesn't come off. Good thing both stars went on to bigger and better things.

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."

'The Big Hangover' did intrigue me. The premise sounded very silly but it seemed oddly interesting and comedy and seriousness together has been done well on film a number of times. Love classic film too, but the biggest drawer was the cast, full of performers that are generally watchable. Elizabeth Taylor especially at her best was great.

Not much to add to what has been said very well by the other commentators, but 'The Big Hangover' took its potentially silly premise and executes it in an even sillier and at times utterly bizarre fashion. It is not a terrible film and has merits, but it mostly left me cold despite on paper liking and admiring what it was trying to do and say. It just didn't come together and came over as strange and not in a particularly good way.

Its best asset is the cast. Van Johnson excels in a difficult role, the subdued quality to his acting fitting the character well, while Taylor charms and looks lovely in one of her earliest adult character roles, exuding a good deal of warmth. All the supporting cast fare well, but the standout performance came from Leon Ames, who is amusing and sincere with the highlight moment of the film.

Visually it looks good, shot with a lot of effort and care. The music fits nicely and is pleasant enough in its own right. There are some amusing moments, thanks to some expert comic timing from the cast, and also moments of charm. Ames' speech at the end strikes a chord and is very memorable, by far the highlight of the writing.

However, 'The Big Hangover' didn't for me come together as a mix of comedy and seriousness and both on their own are patchy in how they come across. The comedy has too many moments where it is far too silly and contrived and the seriousness veers on too preachy. The low point was the dinner party scene, as a scene it was misplaced and the humour was distasteful. The racism subplot was well intended but suffered from having the subtlety of a sledgehammer. The direction is hardly inept but somewhat uninspired and with not much distinction.

From a story perspective, any worries of it being silly does come true sadly and in a way that's very contrived and try too hard. It's also rather disjointed in trying to balance the comedy and seriousness and having too many instances of the shifts in tone being too abrupt and jarring, creating the bizarreness factor and the sense that the film wasn't completely sure what it wanted to be. The script could have done with more sharpness and focus and while the film is not dull as such there is not an awful lot that engages properly, there are moments but one wants a film consistent all the way through.

Overall, well cast and has some good moments but a very odd film. 5/10 Bethany Cox