For those, if any, who have wondered why so many Paramount contractees appeared in United Artists' films during the war years, this is another one of the Paramount productions that was sold...
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During the 1940s, social class conflict is depicted when a spoiled socialite, traveling on a freighter, calls the ship's head stoker a hairy ape, provoking him into stalking the rich woman once ashore in New York.
On trial for murdering his girlfriend, philandering stockbroker Larry Ballentine takes the stand to claim his innocence and describe the actual, but improbable sounding, sequence of events that led to her death.
Dozens of star and character-actor cameos and a message about the Variety Club (show-business charity) are woven into a framework about two hopeful young ladies who come to Hollywood, ... See full summary »
Olga San Juan,
For those, if any, who have wondered why so many Paramount contractees appeared in United Artists' films during the war years, this is another one of the Paramount productions that was sold to United Artists in the early-40's when U.A. was having trouble meeting their exhibitor contracts because of lack of product, mainly due to their loss of production in England. A group of starving, but young and willing, actors band together to share finances and an apartment. Norman Reese (William Holden) orders no love nonsense between the boys and girls till they are set on Broadway, but Marge Benson (Barbara Britton) and Tony Dennison (James Brown) are already secretly married. A friend drops in to see Dottie Coburn (Martha O'Driscoll) and is shocked to find the boys and girls sharing the same apartment and insists it is her duty to inform Dottie's father (Jay Fassett.) Since Dottie is the only one with any money, the boys hurriedly pack their belongings and leave until after Mr. Coburn's ...Written by
Les Adams <firstname.lastname@example.org>
This was one of two dozen Walter Wanger/Harry Sherman/Cinema Guild films originally released by United Artists, re-released theatrically in 1948 by Masterpiece Productions, and ultimately sold by them for USA television syndication in 1950. It was first telecast in Los Angeles Sunday 23 April 1950 on KTLA (Channel 5), in New York City Saturday 29 April 1950 on WCBS (Channel 2), in Philadelphia Sunday 28 May 1950 by WFIL (Channel 6), in Chicago Monday 3 July 1950 on WENR (Channel 7), in Atlanta Wednesday 19 July 1950 on WSB (Channel 8), in Phoenix Sunday 6 August 1950 on KPHO (Channel 5), in Albuquerque Tuesday 8 August 1950 on KOB (Channel 4), in both Cincinnati and San Francisco Saturday 16 September 1950 on WKRC (Channel 11) and on KGO (Channel 7), in Detroit Sunday 24 September 1950 on WXYZ (Channel 7), in Boston Sunday 5 November 1950 on WNAC (Channel 7), and in Pittsburgh Friday 15 December 1950 on WDTV (Channel 3), See more »
Paramount made this film in 1941, but the movie-going public didn't see Young And Willing until 1943 when the film was sold to United Artists to help them fulfill booking commitments. That it was held up for two years is always a bad sign.
It's not a horribly bad film, but not all that good. It concerns six people who are aspiring thespians who share an apartment. Bills such as they are are paid by Martha O'Driscoll who has a rich dad. The others living there are William Holden, Eddie Bracken, Susan Hayward, James Brown and Barbara Britton. It was agreed no romance, but Brown and Britton have already broken that rule, they are secretly married.
The young folks do struggle and when O'Driscoll's father learns she's been living coed he threatens to take her back to their small Illinois home town where family values prevail. The six of them pull all kinds of schemes to both keep O'Driscoll around and get a big break from playwright Robert Benchley.
One thing that truly drove me up the wall as much as it did to the characters on screen was Florence MacMichael's baby talking voice. She's a high minded young woman who finks on the arrangement to O'Driscoll's dad. That woman was hard to take from the moment she opened her mouth until the rest of the film was over. She made me glad when it was over.
This had to be the ultimate of what Bill Holden called his 'Smiling Jim' roles before Sunset Boulevard which he ached to get out of. But at least Young And Willing being the last film the public saw Holden in before he joined the Army Air Corps kept him in the public eye. The public wouldn't see him again until 1946 in Blaze At Noon.
Beware of Florence MacMichael.
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