Coeurs brûlés

Definitely a forerunner to "Kramer vs. Kramer" with Bing Crosby starring as a father who has custody of his young son. His wife (Mary Fickett) divorced him years ago for a Washington political person. Crosby is a successful businessman who has a wonderful relationship with his son. Enter mom and her husband who want custody of the child.

Anne Seymour, in a one-scene restrained performance, plays the judge who surprises everyone with her decision to give the boy to his mother since the child has no ties with her. An embittered Crosby goes on a brief binge while being consoled by Inger Stevens, an assistant to his attorney played by the usual movie-lawyer E.G. Marshall.

The film is interesting and well acted by all but my flaw with it is that the child is constantly bounced around as Crosby and Fickett fight it out. In addition, the Solomon-like decision did not apply here. If we remember our bible, the woman who was willing to see Solomon divide the child really didn't love the child at all, if she wanted this to happen. In the film, the mother finally relents as she sees that the child really wants to stay with his father and therefore, in the tradition of Solomon, she loves the child more. This is wrong and the writers of this picture should have read the bible more carefully.

Naturally, everyone comes to his senses in this one by the end as a reasonable solution is obtained. One could question why this solution couldn't be put forth at the beginning of the controversy.

Nevertheless, the film shows insight in its discussing the effects of divorce on children, the anger of one parent in particular and that a child should remain with the female parent. Yet, haven't we come a long way in equality for both parents?

The movie opens with Bing Crosby singing the Sammy Fain-Paul Francis Webster title song over the opening credits. But that's all you hear from Crosby the singer. For the first time Bing starred in a film without any singing at all.

The story involves a pair of divorced parents who have fallen out of love and are contesting the custody of their son. Crosby the father has the kid and wife Mary Fickett and her new husband Richard Eastham want him.

It's a well acted film and Crosby proves he doesn't need to sing to carry a film. His Earl Carleton is a troubled man, a loving father wounded terribly by the divorce. Mary Fickett is a loving mother who's been denied custody of her son by a hastily signed agreement at the time of her's and Bing's divorce. Her new husband Richard Eastham wants a share of custody for his wife's sake.

The point is that this is a film without villains. These are just good people caught in a bad situation trying to do the right thing as they conceive it. And in probably the best performance of her long career, Judge Anne Seymour has to decide it. The custody hearing scene in her chambers is the best acted scene in the film.

This situation may have inspired some of the situations portrayed in the current series Judging Amy. The film has an honored place in the films of Bing Crosby. A must see.

A subject which is still topical today in 2022. Time has passed,but how many parents are still fighting for the custody of their child(ren)?

Bing Crosby shines in his part of a father whose wife eloped with a government man and after two years wants half of the custody ;from the very start ,the young boy hates his stepfather ,Mister Seward ,he calls "sewer" ;the best moment is the scene with the judge (at the time, there were few women judges ,;today they would not even notice it ) ; the actress,Anne Seymour, although she only has a fleeting part , displays a strong sense of psychology and humanity ,even though her verdict may seem unexpected; queen Solomon indeed :the ending bear this out.

In spite of Inger Stevens ' unquestionable talent (debut) ,her character is cardboard ; you can predict what she will do as soon as she appears; that she can blow the party single-handedly is hardly credible ;she's not a woman ,she's a good fairy with a magic wand. On the other hand ,the part of the mother (Mary Fickett) is too underwritten : she suffers too, because her boy is part of her body -and one learns a sad secret towards the end ;she and her new husband (EG Marshall ) are not the villains. The stepfather ,as the film progresses,finally wins the audience over , when he talks about the famous biblical story of the two women claiming a baby.

A hot topic ,still today.....

A film that is rarely seen today is a must see if you get the chance. The acting is terrific with Bing Crosby giving a performance worthy of another Oscar nomination - in fact all the cast do an excellent job in this well constructed drama about the ugly side of divorce and custody. The film deals very well with these issues and is still relevant even though it was made in 1957. Also this is one of the very few films in which Bing Crosby doesn't sing - except over the titles at the start of the film. Hopefully this will eventually gain a DVD release and a chance to be seen by more people as it only achieved a limited release in 1957 and hasn't been seen a lot since.

This is a beautifully written, produced and acted drama about a bitter divorce situation. The subject is sensitive and the presentation direct, to the point, and brutally honest.

This finely crafted drama slowly builds from its foundation to reveal the ugly side of domestic tension. The photography, editing and music all are effective in their simplicity and at times stark execution.

The acting is top notch throughout, particularly Bing Crosby, Inger Stevens, and Anne Seymour as leads, with the always dependable E. G. Marshall in a supporting role.

An interesting footnote: at this writing the film lacks to date a single professional critic review on IMDb, only user reviews. A careful internet search reveals a most thoughtful review by Bosley Crowther of the N. Y. Times and a revealing article on TCM. Rarely has a work with such top notch actors and artistic accomplishment been so lacking in critical commentary.

For myself, I fully appreciate this "Man on Fire" as a thoughtful, deeply felt and often shattering drama of domestic strife.