Barkley and Lucy Cooper (played by Victor Moore and Beulah Bondi respectively) are an elderly couple who lose their home due to foreclosure. Four of their five children live nearby but none can accommodate both of them so they must separate and live in different children's homes. In their new residences, their presences cause tension. The film is based on the play of the same name by Helen Leary and Noah Leary and the novel "The Years Are So Long" by Josephine Lawrence.
There is so much to love about this film. For one thing, it seems to be a true reflection of life during the time it was released rather than the well-intended escapism created to distract film viewers from the troubles they were experiencing during the Depression. This includes the bold exposure of social-climbing ambition, too much busyness, and the cold indifference to the needs of the elderly. The film exposes 'family' in a way that is rare in films of its time period and it's not a glorious viewpoint. The movie is also pleasantly rare (for any time period) to focus on elderly people in lead roles.
During the separation, Lucy lives with their son (Thomas Mitchell), his wife (Fay Bainter) and shares a bedroom with their teenage daughter, Rhoda (Barbara Reed). The tensions in this situation are often funny and ironically, Lucy seems more appreciated by the family's maid (Louise Beavers) than by her relatives even though it's clear they are trying their best. One of the best scenes is a conversation in which Rhoda tries to force Lucy to "face facts". Lucy's response, flawed as it may seem, has its own logic for someone in her situation and with Bondi's great delivery with words from screenwriter Vina Delmar, this ends up as one of the film's most powerful scenes.
Barkley lives with their daughter, Cora (Elizabeth Risdon) and her husband (Ralph Remley). This situation is sometimes over-dramatized but not enough to lessen the film's impact overall. Cora's treatment of her father is monstrous, shrewish and seems unreasonable and too much at times. Luckily, Barkley has a better connection with a neighbourhood shopkeeper, Max Rubens (Maurice Moscovitch) who adds necessary warmth to a very cold atmosphere.
The film is at its best during its last half hour when Barkley and Lucy spend rare time together in New York including the hotel where they spent their honeymoon. Here, the two leads bond beautifully as they do their best to deny impending sadness and doom while doing their best with what time they can spend together. They connect so well that everyone they meet enjoys their presence and charm including one who seems contemptuous of the elderly at first but is believably won over by the pair. The final scene is most powerful and heartbreaking due to its restraint and withheld emotions. This is more truthful than a cathartic outburst could have been. And Bondi's facial expressions in the final frames are to be treasured.
This film is definitely Chicken Soup for the Soul - ironically as chicken soup is significant in one of the scenes. Director Leo McCarey has created a true treasure here. - dbamateurcritic
RATING: 10 out of 10
OUTSTANDING ACHIEVEMENTS:
There is so much to love about this film. For one thing, it seems to be a true reflection of life during the time it was released rather than the well-intended escapism created to distract film viewers from the troubles they were experiencing during the Depression. This includes the bold exposure of social-climbing ambition, too much busyness, and the cold indifference to the needs of the elderly. The film exposes 'family' in a way that is rare in films of its time period and it's not a glorious viewpoint. The movie is also pleasantly rare (for any time period) to focus on elderly people in lead roles.
During the separation, Lucy lives with their son (Thomas Mitchell), his wife (Fay Bainter) and shares a bedroom with their teenage daughter, Rhoda (Barbara Reed). The tensions in this situation are often funny and ironically, Lucy seems more appreciated by the family's maid (Louise Beavers) than by her relatives even though it's clear they are trying their best. One of the best scenes is a conversation in which Rhoda tries to force Lucy to "face facts". Lucy's response, flawed as it may seem, has its own logic for someone in her situation and with Bondi's great delivery with words from screenwriter Vina Delmar, this ends up as one of the film's most powerful scenes.
Barkley lives with their daughter, Cora (Elizabeth Risdon) and her husband (Ralph Remley). This situation is sometimes over-dramatized but not enough to lessen the film's impact overall. Cora's treatment of her father is monstrous, shrewish and seems unreasonable and too much at times. Luckily, Barkley has a better connection with a neighbourhood shopkeeper, Max Rubens (Maurice Moscovitch) who adds necessary warmth to a very cold atmosphere.
The film is at its best during its last half hour when Barkley and Lucy spend rare time together in New York including the hotel where they spent their honeymoon. Here, the two leads bond beautifully as they do their best to deny impending sadness and doom while doing their best with what time they can spend together. They connect so well that everyone they meet enjoys their presence and charm including one who seems contemptuous of the elderly at first but is believably won over by the pair. The final scene is most powerful and heartbreaking due to its restraint and withheld emotions. This is more truthful than a cathartic outburst could have been. And Bondi's facial expressions in the final frames are to be treasured.
This film is definitely Chicken Soup for the Soul - ironically as chicken soup is significant in one of the scenes. Director Leo McCarey has created a true treasure here. - dbamateurcritic
RATING: 10 out of 10
OUTSTANDING ACHIEVEMENTS:
- Directing by Leo McCarey
- Acting by Beulah Bondi and Victor Moore.