It is so appropriate that this film opens with father Robert Preston and young son Michael Kearney in the movie theater watching Charlie Chaplin. Like Chaplin and the little Jackie Coogan in "The Kid", this is the type of bonding relationship that nothing can destroy. Happy-Go-Lucky Preston wants his son to see every aspect of life that he can and goes out of his way to show him both the good and the bad, without bitterness and without judgment. This even includes teaching him not to use certain words, explained gently to Kearney who accidentally uses the n-word in a key scene at the beginning of the film. There is also the education of the love of the family, when Preston takes Kearrney to meet his ancient great-grandmother. This is the first moment where real tears start to flow in this film version of James Agee's novel (made into a play written by Tad Mosel), culminating in a touching version of "Go tell Aunt Rhody" sung by Preston and his beautiful wife, Jean Simmons.
As angelic as he is as a husband and a father, Preston plays a character who does not believe in God. With each line that Preston expresses in his disbelief or cynicism, you may not necessarily agree with him, but it is difficult to dismiss his philosophies irregardless of your own. Somehow, his actions are not just words on a page that Preston is acting out. You feel his character is searching for something greater that will confirm what he doesn't believe, even though he reveals that one thing that he does believe in is people. It is a refreshing realistic Christian attitude ironically spoken by a non-Christian. The genuine love between Preston and Simmons becomes so beautiful to look at that the inevitable tragedy which guides this film into a different direction will tear at your heart like a terrified child.
Well regarded as a fine actress and a great beauty, for some reason Jean Simmons hasn't received the legendary status that she deserves. But in retrospect, she has such a vast array of performances and characterizations that she certainly deserves reconsideration of that status. Here, her character is not just a typical sweet wife and mother. She's comically amused by her husband and son's antics, even though she tends to scold them when necessary, and debates Preston's agnostic feelings with him. Her character is a woman who has dealt with many strings and must hold it all together even at the worst of times, and Simmons expresses this perfectly in her performance. Kearney is a natural born charmer, working well with Preston who after being so touching with Ronnie Howard the previous year in "The Music Man", strikes magic with a child once again. His breakdown at the end is one that anybody who has witnessed a child deal with sudden death can relate to, and perhaps will hit a bit too close to home.
As for Aileen MacMahon as the devoted aunt, I could write a love letter to her in every film I've ever seen her in. From her film debut in 1931's "Five Star Final" as Edward G Robinson's loyal secretary (and conscience) to her laugh out loud performance as one of the "Gold Diggers of 1933" to her award-worthy performance as the post World War II army officer involved in "The Search", she is a classic actress of the stage and screen whose work stands the test of time and is the epitome of what today we were referred to as an earth mother. More than 30 years may have gone by since her film debut with this performance, but here, she is a living angel in every way, shape and form. The very same year, she was one of the few people strong enough to stand up to the temperamental Judy Garland in "I Could Go on Singing", even stealing scenes away from that musical legend. Stage veteran John Cullum, as Preston's brother, is also brilliant and hauntingly real, especially when he has to reveal the tragic news and can't find the words to express what he has to say.
It is very rare when a film is so perfect where you are left so deeply touched that you could watch it almost immediately again just to not lose that feeling. This covers so many important issues in life, including love, death, fear, grief, compassion, empathy, anger and survival, all complex issues which are timeless since the beginning of humanity. The spirituality that this film expresses is so powerful that it might be too real for some people to handle, and thus should be watched with caution accordingly. What could have seemed stagy on film because of its theatrical roots becomes cinematic yet personal and that is what turns this film into a complete triumph and a work of art that must be rediscovered. .
As angelic as he is as a husband and a father, Preston plays a character who does not believe in God. With each line that Preston expresses in his disbelief or cynicism, you may not necessarily agree with him, but it is difficult to dismiss his philosophies irregardless of your own. Somehow, his actions are not just words on a page that Preston is acting out. You feel his character is searching for something greater that will confirm what he doesn't believe, even though he reveals that one thing that he does believe in is people. It is a refreshing realistic Christian attitude ironically spoken by a non-Christian. The genuine love between Preston and Simmons becomes so beautiful to look at that the inevitable tragedy which guides this film into a different direction will tear at your heart like a terrified child.
Well regarded as a fine actress and a great beauty, for some reason Jean Simmons hasn't received the legendary status that she deserves. But in retrospect, she has such a vast array of performances and characterizations that she certainly deserves reconsideration of that status. Here, her character is not just a typical sweet wife and mother. She's comically amused by her husband and son's antics, even though she tends to scold them when necessary, and debates Preston's agnostic feelings with him. Her character is a woman who has dealt with many strings and must hold it all together even at the worst of times, and Simmons expresses this perfectly in her performance. Kearney is a natural born charmer, working well with Preston who after being so touching with Ronnie Howard the previous year in "The Music Man", strikes magic with a child once again. His breakdown at the end is one that anybody who has witnessed a child deal with sudden death can relate to, and perhaps will hit a bit too close to home.
As for Aileen MacMahon as the devoted aunt, I could write a love letter to her in every film I've ever seen her in. From her film debut in 1931's "Five Star Final" as Edward G Robinson's loyal secretary (and conscience) to her laugh out loud performance as one of the "Gold Diggers of 1933" to her award-worthy performance as the post World War II army officer involved in "The Search", she is a classic actress of the stage and screen whose work stands the test of time and is the epitome of what today we were referred to as an earth mother. More than 30 years may have gone by since her film debut with this performance, but here, she is a living angel in every way, shape and form. The very same year, she was one of the few people strong enough to stand up to the temperamental Judy Garland in "I Could Go on Singing", even stealing scenes away from that musical legend. Stage veteran John Cullum, as Preston's brother, is also brilliant and hauntingly real, especially when he has to reveal the tragic news and can't find the words to express what he has to say.
It is very rare when a film is so perfect where you are left so deeply touched that you could watch it almost immediately again just to not lose that feeling. This covers so many important issues in life, including love, death, fear, grief, compassion, empathy, anger and survival, all complex issues which are timeless since the beginning of humanity. The spirituality that this film expresses is so powerful that it might be too real for some people to handle, and thus should be watched with caution accordingly. What could have seemed stagy on film because of its theatrical roots becomes cinematic yet personal and that is what turns this film into a complete triumph and a work of art that must be rediscovered. .