As a seasoned cinephile who has had the pleasure of witnessing countless classics, I can confidently say that few films have left an impact quite like “Born Yesterday.” This 1950 gem, directed by the legendary George Cukor, is a testament to the power of storytelling and the brilliance of Judy Holliday’s performance.
On December 25th, 1950, Columbia introduced the George Cukor-directed film version of Born Yesterday at its first screening in Los Angeles. This movie garnered five nominations at the 23rd Academy Awards, including for Best Picture, and won an award for Best Actress, which went to Judy Holliday for her portrayal of Billie Dawn. The original review from The Hollywood Reporter can be found below:
The play “Born Yesterday” gracefully transitions onto the screen, retaining its vibrant, catchy, and captivating essence from when it first captivated Broadway years ago. This remarkable adaptation of a now familiar stage production into a lively 104-minute film experience is worthy of a toast by the producers of Gower Street. The credit for this success largely goes to Judy Holliday, whose exceptional portrayal of Billie Dawn, the blonde chorus girl who brings down the power of a greedy tycoon, makes “Born Yesterday” unforgettable and keeps it from fading away.
In S. Sylvan Simon’s production, the stage adaptation of “Born Yesterday” primarily sticks to its original concept, eschewing elaborate settings, with most scenes taking place within a limited number of interior locations. Scenes set in Washington streets are minimal, and the lighting remains relatively unchanged for the majority of the play. Occasionally, some dialogue becomes indistinct due to the varying voice registers between Judy Holliday and Broderick Crawford during their performances.
Director Cukor skillfully employed Audrey Hepburn in a dynamic role to breathe life into what was otherwise a stationary drama, and it’s advantageous that many of the play’s memorable lines were preserved.
Despite some flaws in the staging, it’s clear that this play is a brilliantly humorous masterpiece. Its humor is razor-sharp; its satire cuts deep.
In Born Yesterday, it’s undeniably Judy Holliday who steals the show. Director Cukor allows her to capitalize on her charming gait, high-pitched voice, and hilarious malapropisms for maximum comedic effect. Yet, amidst all the laughter, a genuine earnestness emerges as she undergoes a transformation, using her newfound knowledge to clean up the political scene in her own unique way – by excelling at being the most attractive and articulate woman who has ever spoken just five lines in a musical production.
In the story of “Born Yesterday,” there are no modifications to its plot. It revolves around Harry Brock, who ascends the ladder of success in the scrap metal business and plans to establish an international cartel, aided by his intoxicated lawyer and a corrupt congressman. However, he makes a fatal error when he hires journalist William Holden to refine his girlfriend, making her suitable for high society in Washington. Instead, Holden instills democratic ideals in her. As she starts to comprehend that Harry is exploiting many people and deserves to be imprisoned by the federal government, she becomes aware of this. Since much of his assets are registered under her name, she can bring about the collapse of his empire by merely leaving him.
Broderick Crawford’s portrayal of Harry Brock in the movie feels underwhelming coming from an actor who won the Academy Award just the previous year. His performance is surprisingly over-the-top and lacks authenticity when expressing affection for the chorine. While shouting is essential to the character of Brock, Crawford’s excessive use, especially on screen, is not justified. On the other hand, Holden’s sincerity brings a depth to the character that surpasses what’s written in the script. Howard St. John, playing the corrupt lawyer, instantly earns audience sympathy and his drunken scenes are executed with commendable subtlety. Frank Otto delivers an outstanding performance as Harry’s assistant. The supporting roles are competently filled by Larry Oliver, Barbara Brown, Grandon Rhodes, and Claire Carleton.
In this article, published on November 17, 1950, Harry Horner is recognized for the film’s set design, while Charles Nelson skillfully timed the humor with his editing. The photography credit goes to Joseph Walker.
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2024-12-25 17:25