Classic Film Review: Julia Misbehaves

Julia Misbehaves (1948)
Directed by: Jack Conway
Starring: Greer Garson, Walter Pidgeon, Peter Lawford and Elizabeth Taylor

It was the rare Hollywood film that featured a female lead that abandoned her husband and baby to pursue a career as a music hall performer. But thus is the premise of the MGM comedy, Julia Misbehaves.

After completing a series heavy dramas, British star Greer Garson turned her talents to performing in a light comedy -- one that sees her sing, dance and throw around zingers like the best in the business.

Julia Packett (Garson) hasn't seen her estranged husband (Walter Pidgeon) or daughter Susan (Elizabeth Taylor, only 16 years old at the time) in nearly 20 years. While William raises Susan in Paris as a single parent, Julia traipses around the world, basking in the glow of the spotlight and her most ardent fans. When she unexpectedly receives an invitation to her daughter's impending nuptials, Julia is both shocked and touched by this act of kindness and familiarity. As she barters her way to secure passage on a steerage ship -- and vows to win enough money gambling to buy Susan Christmas presents for every year that she's missed since her birth -- Julia finds herself firmly embedded in everyone's lives the minute she lands in Paris. Her constant meddling leaves William on the verge of madness, especially when Julia gently nudges Susan away from her betrothed and into the direction of Ritchie (Peter Lawford), a young artist who not-so-secretly pines over Susan. And, despite her brash nature and matchmaking schemes, William can't help but fall back in love with the woman who left him all those years ago.

Julia Misbehaves is part screwball comedy and part family drama, with a dash of romance thrown in for good measure. It's the type of crowd-pleasing concoction that made MGM a household name. Although the audience knows that the film will inevitably have a happy ending -- not only for Julia and William but Susan and Ritchie, as well -- you take pleasure in watching all the loose threads come together.

(Left to right): Lawford, Taylor, Pidgeon and Garson.

Garson, in particular, exhibits an innate ability to convey a multitude of emotions in a single glance. Witness her fragility in the scene where she is reunited with Susan for the first time since the girl was a newborn baby. Swathed in a white dress, Julia has abandoned any semblence to her former life as an entertainer. And, despite the fact that she ran off all those years ago, a natural maternal instinct kicks into gear when she locks eyes with Susan and she can't help but reach out to the young woman and desire a close mother-daughter bond.

And while it takes nearly 45 minutes before Garson and Pidgeon unite on screen, watching them navigate through the awkwardness of being married to a complete stranger is a delight to watch. Their relationship -- what little of it once existed -- is gradually revealed through their blossoming friendship. When Julia and William sing together at the piano it's as though they haven't spent nearly 20 years apart.

And while you watch the film for Garson and Pidgeon, you also stay for Taylor and Lawford. With two romantic plotlines, Julia Misbehaves nearly topples under the weight of too many story threads and stolen glances, but it's a joy to watch four young actors pair off and fall in love. And kudos to whoever crafted the idea that Ritchie take Susan on a picnic and lure a bear to follow them so that he can act the part as her saviour and protector. That's a new one! And Taylor and Lawford are charming in the scene.

In the end, Julia Misbehaves suffers from a meandering script (with multiple plotlines that involve a fake fiance for Julia, an extended stage sequence that drags on for far too long and a couple of false endings), yet manages to stay afloat thanks in large part to Garson and her charming costars.

A fun, if unremarkable, little comedy.

FINAL GRADE: B-

Classic Film Review: Good News

Good News (1947)
Directed by: Charles Walters
Based on the play by: Lew Brown et al.
Starring: June Allyson and Peter Lawford

Chances are, if you are looking for a good old-fashioned musical from the 40s and 50s, your first stop would be MGM -- the major studio that produced Singin' in the Rain, The Wizard of Oz, West Side Story, Meet Me in St. Louis and Showboat, among others.

For every Gene Kelly pirouette and Judy Garland solo, there are those lesser-known gems from MGM that would otherwise be completely forgotten if not for specialty channels like TCM. 

And, considering the DVD is next to impossible to track down, TCM may be the only way classic film buffs can view (and own) director Charles Walters' thoroughly enjoyable adaptation of the college-set musical, Good News.

It's a familiar premise, one we've seen in countless musicals and romantic comedies over the decades: A college football captain named Tommy Marlowe (Peter Lawford) falls head-over-heels for the campus' beautiful, wealthy "it" girl, Pat McClellan (Patricia Marshall). When Pat rejects Tommy's advances, he discovers her passion for the French language and vows to become fluent himself in an attempt to woo her. He enlists the help of brainiac Connie Lane (June Allyson), and she sets aside time from her busy schedule to tutor him in French. And then, wouldn't you know it, Connie finds herself smitten with the star athlete. It's your standard tale of (seemingly) unrequited love set to bouncy music, vivid technicolour and show-stopping dance numbers.

All musicals require a suspension of disbelief, arguably even moreso than any other genre. People, often complete strangers, are liable to break out into a perfectly synchronized song and dance routine -- only to resume their everyday activities the moment the song reaches its concluding notes.

However, Good News unintentionally requires its viewers to suspend their disbelief even further with one particular gaping plot hole and a couple of contrived situations that strain plausibility.

The gaping plot hole? Well, that would be the fact that the film claims it's set in the 20s when, in actual fact, all the costumes and hair-styles are very clearly contemporary (i.e. circa 1947). And the plot contrivances? It would be too long-winded to list here but, in a nutshell, Tommy finds himself torn between winning the final football game of the season and proposing to Pat after the victory or losing the game on purpose to win over the affections of the bookish Connie.

Peter Lawford and June Allyson

Regardless of these quibbles, it's hard not enjoy this rousing musical. The songs are surprisingly catchy considering the film has fallen off the radar when people talk about movie musicals. You'll find yourself humming "Lucky in Love" well after the end credits. And, while "The Best Things in Life are Free" is no doubt viewed as the film's romantic highlight, keep an eye out for the amusing exchange between the charming Allyson and Lawford when they duet on "The French Lesson."

In terms of genuine show-stoppers, however, there's only one that comes to mind: "Pass the Peace Pipe", an infectious song-and-dance number led by Joan McCracken (professional dancer and ex-wife of Bob Fosse).

But what it all comes down to in the end is the two charming leads. While Allyson and Lawford both have their detractors, I'm not one of them -- they are both a joy to watch. While they may not have the greatest singing voices they try their darndest to really belt it out. Where they do both excel is in their onscreen presence and overall likeability -- and both are fully capable of burning up the dance floor as they prove in the closing number, "The Varsity Drag."

For pure, unadulterated musical entertainment, Good News proves to be just that.

FINAL GRADE: B+