Over 21 (1945) User Reviews (14)

Radiant Irene Dunne carries conviction as wartime wife...

[Doylenf · 6/10 · 20 December 2007]

While hubby Alexander KNOX is undergoing the rigors of officer training at an army base, IRENE DUNNE must contend humorously with several hardships of her own, including a floorboard that has to be stamped upon in order to open a window, light switches in inconvenient places, a refrigerator caked with ice, and a lack of cooking skill that means she has to call upon her willing female neighbors when her husband brings a buddy over for dinner. In addition, she has a newspaper editor (CHARLES COBURN) hounding her husband to write another article from the newspaper he walked out on--a chore which Dunne takes upon herself to do so hubby won't be distracted from his work.

Based on Ruth Gordon's own experiences as an army wife (married to writer/director Garson Kanin), it serves as a delightful role for IRENE DUNNE, who lights up the screen with her presence and has never been more attractively photographed.

But the material itself is a bit uneven, deadly serious one moment and then straying into the field of screwball comedy at other times.

Another drawback is the performance of Alexander KNOX as the overage hubby, not the world's most charismatic actor. It's the kind of role that should have been played by either EDDIE ALBERT or a bigger star like CARY GRANT.

JEFF DONNELL is amusing as a devoted soldier's wife and CHARLES EVANS and LEE PATRICK do nicely in supporting roles. But it's almost a two character story with the spotlight on Dunne and Knox running occasional interference from crusty CHARLES COBURN, and most of it takes place in their cramped living quarters which must have kept the film at a very low budget.

Summing up: An essential Irene Dunne film for her fans.

war film

[blanche-2 · 6/10 · 7 January 2013]

"Over 21" stars Alexander Knox, Irene Dunne, Charles Coburn, and Jeff Donnell in a wartime story based on a Broadway play written by and starring Ruth Gordon. Gordon joined husband Garson Kanin when he joined the service and the play is inspired by that experience.

Here, Knox plays the 39-year-old newspaper editor Max Wharton, who feels that he can't write about the war unless he gets into the fray himself. His boss, Robert Gow (Charles Coburn) has a fit and so does his wife Paula (Dunne) but he insists. Paula gets housing in a broken-down bungalow so she can be closer to him. Max, meanwhile, is having a tough time. There are lots of tests, and there is a theory that people "over 21" can't absorb anything. Also his boss keeps calling, intending to pressure him to return to the paper as he is needed. Paula keeps Gow from talking to Max, but acts as if Max has agreed to write editorials. She then, under the guise of working on a screenplay, writes them herself.

This is an okay movie, if somewhat frantic. Dunne always had a wonderful style and a flair for comedy. She does a good job here but it almost seems as if she's working too hard. She has a huge part and she's not really surrounded by people as good as she is at comedy, so perhaps that's why. Knox gives an excellent speech at the end of the film.

"Over 21" is enjoyable, it's pleasant, it's no great guns, but the speech at the end is inspired.

WWII story from the wifely point of view

[ksf-2 · 7/10 · 17 October 2007]

Note the wide release date of Aug 8, 1945 - about a week before Japan surrendered in WWII, so there will probably be a message for us in "Over 21". Irene Dunne (It Happened one Night, the 1939 version of Love Affair) is Paula Wharton, who goes to live on an army base while her newspaper editor husband is in training school. Alexander Knox ( the Longest Day) is her hubby Max. Look for Charles Coburn (Monkey Business, Gentlemen prefer Blondes) as the stuffy, commanding, newspaper boss. Also look for Cora Witherspoon as Mrs. Gates, from The Women, Bank Dick, Libeled Lady. War story written for the wives' point of view, which wasn't too common in those days. fun commentary on the shabby condition of the "married housing"; Irene's wardrobe in this film certainly wasn't at all shabby.. since they never had to leave their little cottage, it appears the whole movie budget was spent on her always-exquisite dresses and hats.

Pleasant Movie with Impressive Speech

[Hatchetman1945 · 18 November 2004]

I first saw this movie in the 1960's on TV. I subsequently saw it a couple of more times in the next few years but have not seen it since the late 1960's. I don't believe there are any existing copies of it, but I may be wrong. I found the movie, as I recall it, pleasant and amusing. As you can tell, it made an impression on me.

This film is about the editor (Alexander Knox) of a New York newspaper who, already an older individual, gets called near the end of World War II, into the U.S. Army's Officer Candidate School and the difficulties he goes through to meet the standards in order to become an officer. He agreed at his publisher's (Charles Coburn) urging to continue with editorial writing. Because he becomes burden with trying to pass the classes at OCS he becomes, he can't devote time to effort to writing the weekly editorials as he promised. His wife (Irene Dunne), who lives with him while he attends OCS, starts writing the editorials but passes them off to the publisher as his (Knox's character does not know that she keeps writing the editorials after he stops).

What impressed me about this movie was a speech Knox's character gives at the graduating class commencement in OCS toward the end of the movie. It is called "The World and Apple Pie" and speaks about the need for America to remain active in world affairs after World War II ends (in view of America's isolationism prior to World War II). He makes the analogy between the ingredients and person that make a apple pie and the ingredients that and people that make a peaceful world, that the pie and the world are only as good as the ingredients and the people who made them.

If there is an extant copy of the movie with the speech in it, I would love to find it. If you do have a chance to see the movie, do so. It's not a great movie but the speech, I think, will make its mark.

I did come across a book, a few years back, containing Ruth Gordon's play upon which the movie was based but the play did not have the speech in it.

Thankfully, a very different WWII film

[planktonrules · 7/10 · 27 October 2009]

During WWII, there were a bazillion movies created by Hollywood and after seeing many of them they start to seem alike. However, OVER 21 is unique in so many ways, as it shows a side of the war you won't see in other films--making it well worth seeing, even if you have seen the bazillion other films!

Alexander Knox plays the male lead, but the real lead of the film is Irene Dunne--who looks amazing for a 47 year-old lady (yes, I checked--she really was this old when she made the film). In OVER 21, the pair play husband and wife. He enlists in the military, much to the consternation of his father (Charles Coburn) and owner of the newspaper where Knox is employed, and most of the film takes place when he is in officers candidate school. The film shows little of Knox in the school but instead centers on Dunne as she lives in nearby spartan housing for spouses. During this time, she (as the British say) keeps a 'stiff upper lip' and makes the best of it--even though she really isn't a housewife but a famous professional writer. Occasionally she gets very brief visits from her harried husband but most of the time is spent doing housewife duties and keeping the meddling Coburn at bay. Eventually, she decides to stop the pesky Coburn from phoning incessantly (he ALWAYS complains that his paper won't survive without his son) by pretending to be Knox--writing wonderful editorials that everyone just assumes were written by him.

While there is nothing earth-shaking in this film, it's a very interesting slice of life move. Additionally, the acting all around is very good. It's interesting that this film is a fictionalized reworking of the experienced of Ruth Gordon (a famous screenwriter) and her husband, Garson Kanin (also a famous screenwriter as well as director). When Kanin joined the military during WWII, Gordon soon wrote and starred in the play that became this film.

By the way, I noticed that some of the reviewers really liked the speech towards the end of the film and were inspired by it. While it was very good, it was also very sad as all this hope for a better world following the war was short-lived.

Propaganda film, but Irene looks great

[Slyhuckster · 7/10 · 21 August 2019]

This American film has all the elements of the talked about, but little known "Flag Waver". While films like "Tender Comrade" and "Days of Glory" have become well known, this one has languished in obscurity. It is a lot less dramatic, but the illustrations of life stateside in wartime were revealing. Rationing, overcrowding, and folks pulling together to achieve a better life are well depicted. I can watch any movie with Irene Dunne, even if it is otherwise unremarkable.

Not bad all -- right up until its disappointingly dated conclusion!

[JohnHowardReid · 6/10 · 20 May 2018]

Falling back on domestic comedy once more, director Charles Vidor's next assignment, Over 21 (1945), is a Sidney Buchman adaptation of Ruth Gordon's play about a newspaper editor (Alexander Knox) who joins the army, ostensibly "to be worthy of the post-war world."

Complications set in when both the editor's wife (Irene Dunne) and former employer (Charles Coburn), move into an extremely small makeshift cottage that is handily situated right near the former editor's Miami officer-candidate school.

Some of the ensuing situations are rather reminiscent of George Stevens's housing shortage comedy, The More the Merrier 18'43), especially as Best Acting Award-winner Coburn is again present.

Alas, the picture concludes with a patriotic plug that is both dated and embarrassing.

Fabulous Forgotten Film!

[krdement · 9/10 · 11 October 2007]

The beautiful, charming, supremely versatile and talented Irene Dunne is one of the greatest 5 or 6 actresses of American cinema. In Over 21 - as in all her films - she lights up the screen with a natural, yet glamorous presence. She is simultaneously authentic and human, AND a charismatic, inspirational model. This role is quintessential Irene Dunne, full of pathos and wit and a little mischief. I love all of her films, and this film was a fantastic new discovery for me when TCM aired it last night. I hope they don't wait years to air it again.

Likewise, Charles Coburn is one of the greatest character actors in all of American filmdom. True, he often portrays variations on the same theme, but I never tire of watching his soft-hearted curmudgeons. Here his character is the perfect foil for Irene Dunne, and he is portrayed perfectly by Coburn. Their conflicts in this film are absolutely fantastic. They never miss a beat. In addition, they represent the central conflict of the film and the moral conflict of Irene Dunne's husband, portrayed by Alexander Knox.

I am not as familiar with Knox's work. He was recognizable, but that was about all. However, cast with Dunne and Coburn, he holds his own. He delivers a fine, nuanced performance. His character has noble motives that are made accessible to us by Knox's performance and never held over us like some holy grail. He is noble, but conflicted and doubts his ability to successfully complete OCS. His interaction with Dunne, is always convincing, too. Dunne supports him without being syrupy or becoming a martyr, and he responds in kind. Their scenes are very well done.

The film, itself, is a fantastic snapshot of a moment and a milieu not portrayed in other movies. I don't recall off the top of my head another movie that portrays America still fighting WWII, but with the end in sight and the focus on the establishment of the post-war world. Not the usual WWII movie! That in itself is interesting; it is also essential to the plot and the movie's message. In contrast to other commentators, I thought that the climactic speech was okay, but not great. It was delivered very well by Knox, but it was not as "tightly" written as the build-up led me to expect. I have heard better cinematic speeches addressing very similar themes. It served its purpose.

For me, the greater value of the movie, was the depiction of the life of Dunne and Knox, as it reflected the typical OCS experience. The sense of community among the wives living on Palmetto Terrace seemed absolutely authentic - as did Palmetto Terrace, itself, despite the fact that it was obviously a sound stage set. The incredibly brief encounters between the wives and their OCS husbands. The rigors of the OCS candidates, mastering the difficult and complex material they had to learn. The shabby "base housing" - obviously hastily constructed. The tired and worn furnishings. The constant and harrowingly short deadlines - for returning to base, for learning lessons, for catching trains to subsequent "posts." Tenants constantly running into their predecessors and successors in the base housing, as they were moving in and out. Yes, I suspect this was a glimpse of a real WWII experience - clothed in some comedy, but very real at its core. I loved it, and I recommend it highly.

great film

[millriver · 10/10 · 1 April 2005]

This little-known comedy from the hit play by Ruth Gordon is a delight. The script, based on the play, is spicy, rich, and completely undated. Ditto the cast but I must underline the work of the leading lady,Irene Dunne. Irene is simply superb - as usual - and lights up the screen with every frame she's in (and she's in it a lot, thank heaven). In addition, director Vidor has given her some unusual close-ups that are mesmerizing. What a gal! I know of no other Hollywood actress from any era who has her versatility and is so convincing in every film. Why she remains so little known is a mystery. I have seen most of her films and this one was a surprise, even for a solid ID fan like myself. See it, everyone!

Uplifting and Engaging Movie

[joanmcgittigan · 10/10 · 18 October 2007]

A light, uplifting and engaging movie. Watching Irene Dunne is a delight! As you watch her, she ceases to be Irene Dunne and becomes in every way Paula Wharton.

I have enjoyed Irene Dunne in every movie that I have seen and that would be nearly all of them. What a shame that most of her movies need restoration so badly. I do hope Irene Dunne movie are restored before it is too late they are such treasures Thank goodness this is not the case with Over 21.

It is a must see if you like superb acting and witty comedy with serious overtones. I agree with a previous comment on the speech "The World and Apple Pie" it was one of the many highlights of the movie. I read somewhere that Irene Dunne helped in writing that speech along with Director Vidor (Irene Dunne was a very good and charitable person in private life) and it certainly seems to show through in her movies!

Was there ever an American comedienne like Irene Dunne?

[benoit-3 · 10/10 · 20 December 2007]

It is well known that Irene Dunne could sing somewhat more than a little. And I think her talent as a comedienne can only be really understood once one has struggled through a sonata by Haydn or a song by Debussy and made a success of it. Her instrument is her voice and her handling of it is pure musicianship. She could tackle any part. The only thing she couldn't do was to not make a success of it. This film is a perfect example. In it, she channels Ruth Gordon (because the play is the thing), is feminine, charming, willful and self-effacing, generous, protective and combative but never pretentious. She manages to stay as believable as Alexander Knox is in another difficult role he assumes with aplomb. The viewer gets to believe in what he is seeing and to care for it. It is refreshing to see a film that is both entertaining and intellectually challenging while pushing all the right patriotic buttons. I sincerely hope the entire Dunne oeuvre makes it to DVD one day because it's really hard to keep a secret like that among just a few initiates.

A different war time comedy romance during WW2

[SimonJack · 8/10 · 11 November 2017]

"Over 21" is a curious film for the subject and the time. World War II was nearly over when filming began. By the film's release, the war had ended in Europe and was about to end in the Pacific. Between its July 25 premiere and its Aug. 8 theater release in 1945, the U.S. had dropped the atomic bomb on Hiroshima (Aug. 6). And it would be dropping the second bomb on Nagasaki the day this movie opened in theaters.

Although the film is a comedy (a sophisticated one at that), it seems strange that it was made at all, and then released as it was. By the late summer of 1945, there was much soul-searching and grieving over the losses of lives and toll of the war. Sure, people were happy it was finally coming to an end, but this gave time to reflect on the war years without worrying about the future.

The movie is based on a 1944 play written by actress and writer Ruth Gordon. She starred in the role of Polly Wharton in the Broadway run of 221 performances that year.

But, as if the subject and timing weren't strange enough, the premises of Gordon's plot surely seemed strange. A 39-year old newspaper editor decides to enlist (in 1943) so he could get close to the action and have first-hand knowledge and experience to write about it for his newspaper in the future. But that thought seems to have come late for Max Wharton. By the time he finished basic training (boot camp) and six months of OCS (Officers Candidate School), the U.S. would have been two years into the war. As of December 1942, the Selective Service required registration of all males, 18 to 64, with those 20 to 44 liable for induction. Max apparently missed the draft drawings before this time, and didn't think about volunteering the first year.

So much for the strangeness of the film being made and then released as Japan was being brought to its knees. The movie has Max attending OCS at a fictional Army "field" in Florida. Since OCS was established in 1940, the training for infantry and most officers has been at Fort Benning, Georgia.

Alexander Knox plays Max Wharton, managing editor of the fictional New York Bulletin. Charles Coburn is Robert Drexel Gow who owns the paper and is sure it will go out of existence without Max at the helm. Irene Dunne plays Paula "Polly" Wharton. She worked for a time for the paper, then married Max and has since had a flourishing career as a novelist and screenwriter. She and Max have been separated for nearly three months while she finished a screenplay in Hollywood. But she is going to go with Max to be there for him at OCS. That is, even though she'll have to live in a bungalow off base and may only be able to see Max for short spurts a couple times a week.

That's the setting. The comedy comes mostly from the complaining and conniving of Gow to get Max to continue writing the editorials for the paper, while Max succeeds in dodging him. Of course, Polly gets caught in the middle and winds up being the solution for both men, though neither of them know it until the end.

The film does give a good picture of what military life was like in attending OCS, and for wives who followed their husbands on assignments. But, considering that the U.S. was deeply into the war, it seems strange that there was almost no reference at all to the war in the military scenes and setting. The only slight reference was by Gow for the war-related editorials that only Max could write.

The performances are all very good. The name of Knox may not come readily to mind among movie fans, but he won a Golden Globe for his performance as Woodrow Wilson in the 1944 film, "Wilson." He also played Harry Stimson several times, as Secretary of the U.S. War Department during WWII, and in other positions. He had a distinguished film career.

Irene Dunne gives her best to any role she has, and Charles Coburn was his usual irascible self. This is a rare film though, in which Coburn gives a huge smile, right at the end. This is a good comedy and film about home life and OCS training during World War II.

Here are some of my favorite lines from the film. For more dialog, see the Quotes section under this IMDb Web page of the movie.

Robert Gow, "Do you have to polish your own shoes?" Max Wharton, "And press my pants and sew on my buttons. Anything wrong?" Polly Wharton. "Max loves it." Max, "I love it." Robert Gow, "Well, love makes the world go round."

Max, "You never liked him." Robert Gow, "I still don't He eats too loud." Max, "Don't eat with him."

Colonel Foley, "I don't try to outguess Washington, Wharton." Mrs. Foley, "Ted, you can say more without saying anything."

Polly, lying on her bed at night alone, prays, "Please let Max graduate… Oh no, maybe you'd better flunk him out… That is, if you can do it without breaking his heart… Or, if you could pass Max and still not let Robert sell the paper… Or maybe… Oh, I don't know. Just do the best you can. I really don't know."

Moldy comedy based on a play by Ruth Gordon about her own experiences

[J. Spurlin · 29 April 2008]

Max Wharton (Alexander Knox), 39, is the editor of the New York Bulletin -- or he was, until he announces to his boss over the Teletype that he's quitting to join the army. Robert Gow (Charles Coburn), who owns the paper, is furious. Wharton is the Bulletin. Without him there's no newspaper. But what Wharton wants is to be close to the war. And his wife, Polly (Irene Dunne), wants to be close to him. And so she finishes up her latest movie script and goes to live near the barracks. She suffers life in a bungalow that has no shower, lights that you have to turn on and off from the outside, a refrigerator that will make a hideous noise when she's lucky (that means it's working), moths and other niceties. Meanwhile, Max is starting to believe the saw that you can't teach an old dog new tricks. Supposedly, anyone over 21 has great difficulty in learning what one needs to learn to become an officer.

It's a lie, says Polly. But she's not sure whether she wants him to graduate or not. If he fails, he can go back to the paper, his baby, the thing he's constantly worrying about when he isn't worried about his tests. Gow has been calling her constantly, trying to talk to Max, but Polly won't let him, not when he has more important things on his mind.

Finally, Gow tells Polly that he has to sell the paper. Polly stops him in the only way she can. She tells him Max will write editorials from the barracks. But there's no way Max could handle the extra work load, so she writes the editorials herself.

The British critic, Leslie Halliwell, sums up this movie in his Film Guide: "Thin star comedy based on Ruth Gordon's play about her own predicament; not for the wider audience, and not very good anyway." Irene Dunne and Charles Coburn are good, as always, but you can see them in other movies.

The Kind Of Post War World He Wants

[bkoganbing · 8/10 · 12 March 2010]

Over 21 the film version of the Ruth Gordon play which detailed her experiences trying to keep the marriage together with Garson Kanin after he'd gone in the service provides Irene Dunne with one of her better later roles on the big screen. It's also in keeping with what was then an upbeat spirit in America about how we would not screw up the peace as we did in the first World War and sow the seeds of yet another global conflict.

The play Ruth Gordon wrote and starred in herself ran for 221 performances in 1944 on Broadway and was confined simply to the bungalow that Gordon and Harvey Stephens who was the male lead had on a training base. If you look on the Broadway credits list it says that the production was 'staged' by George S. Kaufman as opposed to being directed by him. I'm not sure of the distinction, but I can imagine that with a wit and will as strong as Kaufman's it must have been an interesting period putting the production together before opening night.

When Columbia bought the screen rights, Sidney Buchman had to do some considerable script reconstruction to move the action beyond the bungalow. The film bears very little trace of its stage origins.

Alexander Knox plays the husband and Charles Coburn the employer of both Dunne and Knox who are writers. Knox has graduated to not only editor, but featured columnist. His words and thoughts help sell the paper and Coburn is in a bind. But Knox feels he has to get into the war, the seminal event of his time in order to speak authoritatively on the kind of post war world he wants. This was not an uncommon theme in those years.

Irene Dunne has some good comic moments, the kind she used to have when she was appearing opposite Cary Grant. In fact Garson Kanin directed both of them in My Favorite Wife a few years earlier. Coburn is his usual cantankerous old water buffalo of a boss who ultimately has a good heart.

Over 21 was an optimistic picture which sad to say wasn't accurate about what the Allies and I mean all of them could bring to the peace conferences to create a better world. Still hopefully a new generation will get it right.