52 reviews
Although it is only heard sung by Frank Sinatra at the beginning and end credits of Young At Heart, the title song was both a big hit for Frank Sinatra and set the tone for a very warm and wonderful Yuletide picture.
Warner Brothers already had this property, this is a remake of Four Daughters, minus a daughter, with Sinatra and Doris Day in the roles originated by John Garfield and Priscilla Lane. Doris's sisters are Dorothy Malone and Elizabeth Fraser who are all the daughters of music professor Robert Keith and all play instruments. The only non-musical member of their household is wise old maiden aunt, Ethel Barrymore.
Of course Doris sings as well. But in the passing out of vocal material, Sinatra did a lot better than she did. None of her songs did anything for her vocal career. Sinatra wisely opted for standards by some of the very best. In his role as saloon singer/piano player/music arranger Frank gets to sing Just One of Those Things by Cole Porter, Someone to Watch Over Me by the brothers Gershwin and One For My Baby by Harold Arlen and Johnny Mercer. Can't get much more talented in the song department than that group.
One For My Baby was introduced by Fred Astaire in The Sky's the Limit, but when Sinatra sang it here it became forever identified with him and a staple item at all of his live performances.
Sinatra and Day sang a duet You My Love at the finale. It was the song that Frank was working on through out the film. They sang it so well that you'd never know that tempers flared the entire time the film was made.
During the Forties when both were at Columbia Records, Frank and Doris recorded a couple of duets together. In the interim, Sinatra moved on to Capitol records so no original cast album could be made from this soundtrack. It might not have happened anyway because back in the Forties Day spoke highly of Frank. Things cooled considerably between the two of them, among the items of contention was Day's husband Martin Melcher. Suffice it to say it was not a happy set.
Still and all Young at Heart is one of the best films either of the stars did and really nice entertainment.
Warner Brothers already had this property, this is a remake of Four Daughters, minus a daughter, with Sinatra and Doris Day in the roles originated by John Garfield and Priscilla Lane. Doris's sisters are Dorothy Malone and Elizabeth Fraser who are all the daughters of music professor Robert Keith and all play instruments. The only non-musical member of their household is wise old maiden aunt, Ethel Barrymore.
Of course Doris sings as well. But in the passing out of vocal material, Sinatra did a lot better than she did. None of her songs did anything for her vocal career. Sinatra wisely opted for standards by some of the very best. In his role as saloon singer/piano player/music arranger Frank gets to sing Just One of Those Things by Cole Porter, Someone to Watch Over Me by the brothers Gershwin and One For My Baby by Harold Arlen and Johnny Mercer. Can't get much more talented in the song department than that group.
One For My Baby was introduced by Fred Astaire in The Sky's the Limit, but when Sinatra sang it here it became forever identified with him and a staple item at all of his live performances.
Sinatra and Day sang a duet You My Love at the finale. It was the song that Frank was working on through out the film. They sang it so well that you'd never know that tempers flared the entire time the film was made.
During the Forties when both were at Columbia Records, Frank and Doris recorded a couple of duets together. In the interim, Sinatra moved on to Capitol records so no original cast album could be made from this soundtrack. It might not have happened anyway because back in the Forties Day spoke highly of Frank. Things cooled considerably between the two of them, among the items of contention was Day's husband Martin Melcher. Suffice it to say it was not a happy set.
Still and all Young at Heart is one of the best films either of the stars did and really nice entertainment.
- bkoganbing
- Oct 29, 2006
- Permalink
I'd forgotten how much i loved this film until i watched it yesterday. I remember watching it a lot years ago but it isn't the sort of film that sticks out as being mind-blowing. Nevertheless it's still a really good one to watch when you don't want anything too heavy. There are some nice floaty songs, a few teary scenes and overall a nice mix of everything a good film needs, without anything harsh thrown in.
Frank Sinatra and Doris Day are totally believable throughout and compliment each other perfectly. The cast as a whole works very well, the characters are all complex and not over-the-top or dull. In short, it is a perfectly likable film.
Frank Sinatra and Doris Day are totally believable throughout and compliment each other perfectly. The cast as a whole works very well, the characters are all complex and not over-the-top or dull. In short, it is a perfectly likable film.
- jazzturtle
- Mar 13, 2005
- Permalink
The three adult daughters of a Connecticut music teacher are anxious to encounter love and marriage. Each of them gets to the altar, but fate deals them some strange experiences along the way.
Laurie, Amy and Fran (Doris Day, Elisabeth Fraser and Dorothy Malone, respectively) choose men of widely contrasting personalities. Laurie plumps for Alex (Gig Young), the tall, handsome extrovert with musical ability. Fran settles for Bob, the dependable realtor (Alan Hale). If Amy's choice is a surprising one, it is ultimately vindicated by events. Then, of course, there is the surprise elopement ...
"Homes like these are the backbone of the nation," wisecracks Barney, the sarcastic interloper. His working-class Italian American sense of irony soon clashes with Laurie's blonde bourgeois rectitude. Barney describes himself as a 'stumblebum', and the part of the sharp-tongued loser is ideal for nighclub-singing, self-despising Frank Sinatra. "Pressed pants are constitutional in Connecticut," explains Laurie as she endeavours to reform the world-weary Barney, but Barney will never fit comfortably into Connecticut's refined social setting.
Songs are what the film is all about. No fewer than two songwriters attach themselves to the musical Tuttle girls, and the action is frequently punctuated by singing. Sinatra and Day even get to promote their latest Hit Parade offerings. The title song is deservedly famous, and Frankie does two excellent torch songs - the first in classic Sinatra mode, alone in a bar with an upright piano and a hat on the back of his head for a rueful rendition of Porter's "Just One Of Those Things", the other a night club crooning of the one and only "Set 'Em Up Joe".
The film has a great look. Shot by Director of Photography Ted McCord in a sumptuously rich Warnercolor, the images are pleasing to the eye. The 'puppy' scene which introduces Laurie to Alex is especially attractive. It seems always to have been a term of La Day's contracts that she must get to wear pretty clothes, and here the effect is sensational as she flounces past a blue house in a radiant orange New Look dress.
The set of the Tuttles' suburban avenue is breath-taking. A 'real' street with gardens and picket fences was constructed on Warners' back lot, and we see it transforming as the seasons turn. The location scene, the clam-bake on the beach, is one of the film's best-looking passages.
Though this is merely a popular musical, there are none the less some touches of artistic flair. As the theme song and the credits come to a close, Gregory Tuttle 'lifts' the tune from the titles and into the action by playing it on his flute in the living-room. Barney remains outside the circle of birthday well-wishers, showing us that this easy domestic affection is alien to him. The significance of Alex not being able to tie his knot is a nice little comment on what is about to unfold. Throughout the Christmas banter between Alex and the Tuttle clan, we see nothing of the action, because the camera remains doggedly fixed on the detached Barney, his reaction being the only one that matters to us.
There are few quibbles, and they are only minor ones. The pianist who doubles for Sinatra sits in a bolt-upright posture, totally unlike the Sinatra Slouch. Laurie's behaviour towards Alex is appalling, and unworthy of a romantic heroine. Consequently, the 'forgiveness' scene doesn't ring true. The method employed by Barney to solve everyone's problems, and its actual result, are utterly unbelievable.
Verdict - A homely, attractive musical with some outlandish plot elements.
Laurie, Amy and Fran (Doris Day, Elisabeth Fraser and Dorothy Malone, respectively) choose men of widely contrasting personalities. Laurie plumps for Alex (Gig Young), the tall, handsome extrovert with musical ability. Fran settles for Bob, the dependable realtor (Alan Hale). If Amy's choice is a surprising one, it is ultimately vindicated by events. Then, of course, there is the surprise elopement ...
"Homes like these are the backbone of the nation," wisecracks Barney, the sarcastic interloper. His working-class Italian American sense of irony soon clashes with Laurie's blonde bourgeois rectitude. Barney describes himself as a 'stumblebum', and the part of the sharp-tongued loser is ideal for nighclub-singing, self-despising Frank Sinatra. "Pressed pants are constitutional in Connecticut," explains Laurie as she endeavours to reform the world-weary Barney, but Barney will never fit comfortably into Connecticut's refined social setting.
Songs are what the film is all about. No fewer than two songwriters attach themselves to the musical Tuttle girls, and the action is frequently punctuated by singing. Sinatra and Day even get to promote their latest Hit Parade offerings. The title song is deservedly famous, and Frankie does two excellent torch songs - the first in classic Sinatra mode, alone in a bar with an upright piano and a hat on the back of his head for a rueful rendition of Porter's "Just One Of Those Things", the other a night club crooning of the one and only "Set 'Em Up Joe".
The film has a great look. Shot by Director of Photography Ted McCord in a sumptuously rich Warnercolor, the images are pleasing to the eye. The 'puppy' scene which introduces Laurie to Alex is especially attractive. It seems always to have been a term of La Day's contracts that she must get to wear pretty clothes, and here the effect is sensational as she flounces past a blue house in a radiant orange New Look dress.
The set of the Tuttles' suburban avenue is breath-taking. A 'real' street with gardens and picket fences was constructed on Warners' back lot, and we see it transforming as the seasons turn. The location scene, the clam-bake on the beach, is one of the film's best-looking passages.
Though this is merely a popular musical, there are none the less some touches of artistic flair. As the theme song and the credits come to a close, Gregory Tuttle 'lifts' the tune from the titles and into the action by playing it on his flute in the living-room. Barney remains outside the circle of birthday well-wishers, showing us that this easy domestic affection is alien to him. The significance of Alex not being able to tie his knot is a nice little comment on what is about to unfold. Throughout the Christmas banter between Alex and the Tuttle clan, we see nothing of the action, because the camera remains doggedly fixed on the detached Barney, his reaction being the only one that matters to us.
There are few quibbles, and they are only minor ones. The pianist who doubles for Sinatra sits in a bolt-upright posture, totally unlike the Sinatra Slouch. Laurie's behaviour towards Alex is appalling, and unworthy of a romantic heroine. Consequently, the 'forgiveness' scene doesn't ring true. The method employed by Barney to solve everyone's problems, and its actual result, are utterly unbelievable.
Verdict - A homely, attractive musical with some outlandish plot elements.
Unconvincing musical drama, a remake of 1938's "Four Daughters", has bright, cheery Doris Day picking brooding Frank Sinatra for a suitor over bright and cheery Gig Young. She's hoping to cure Sinatra of his demons, of course, and isn't true love the best medicine after all? A corny, artificial outing, although one mounted with classy studio-style and featuring pleasant supporting characters and chipper family chit-chat. Still, Sinatra's dour mood and Young's attraction to Day (over one of her sisters, whose tender emotions are never quite dealt with) leaves one unsatisfied. It's certainly a well-scrubbed, family-oriented diversion, but the all melodrama the screenplay brings up seems wrong-headed, and sour Sinatra never fits in with this sunny family and he never clicks with Day. **1/2 from ****
- moonspinner55
- Oct 29, 2006
- Permalink
A musicalization of a classic “woman’s picture” is about as unappetizing a prospect as can get for me film-wise, but the polished Hollywood expertise here wins out in the end and makes for a refreshing and appealing movie that I had long underestimated (it was shown several times on Italian TV but I never bothered with it).
Doris Day and, especially, Frank Sinatra are well-matched as star-crossed lovers in small-town America; Day comes from a classically-trained musical family headed by Robert Keith and including Dorothy Malone (with spinster aunt Ethel Barrymore watching maternally from the sidelines). Amiable popular music composer Gig Young bursts in on their quiet, happy family life (all the girls naturally fall for his charms) but this is further exacerbated by the belated introduction of his arranger pal, embittered long-time loser Frank Sinatra. The film’s narrative is largely made up of the romantic entanglements of the trio of girls (two of whom are engaged to local guys but pine for Young) while Day is longed for by Young but is immediately drawn to outsider Sinatra. Robert Keith is really no match for Claude Rains – who had played the father in Michael Curtiz’s original FOUR DAUGHTERS (1938) – but Sinatra does manage to make John Garfield’s star-making, Oscar-nominated turn his own.
Curiously enough, the screenwriters of YOUNG AT HEART – Julius J. Epstein and Lenore Coffee – were the very same duo who had earlier adapted FOUR DAUGHTERS to the screen; however, as is already apparent, the original movie had four daughters instead of three, the character names were also altered and the remake was even given a schmaltzy, happy ending! Naturally, both Day and Sinatra get to sing in the film but they only have a modest duo of sorts at the very end; incidentally, I was let down by the finale not just because of its improbable “all’s well that ends well” qualities but also because, after Sinatra is seen toiling at his magnum opus throughout the whole movie, the result is just a corny love song! At the very least, I was expecting the classic title tune to be it (which he does get to sing over the opening credits). Incidentally, he seems to have had a good working relationship with director Gordon Douglas – since they would reteam three more times in the next 14 years.
Doris Day and, especially, Frank Sinatra are well-matched as star-crossed lovers in small-town America; Day comes from a classically-trained musical family headed by Robert Keith and including Dorothy Malone (with spinster aunt Ethel Barrymore watching maternally from the sidelines). Amiable popular music composer Gig Young bursts in on their quiet, happy family life (all the girls naturally fall for his charms) but this is further exacerbated by the belated introduction of his arranger pal, embittered long-time loser Frank Sinatra. The film’s narrative is largely made up of the romantic entanglements of the trio of girls (two of whom are engaged to local guys but pine for Young) while Day is longed for by Young but is immediately drawn to outsider Sinatra. Robert Keith is really no match for Claude Rains – who had played the father in Michael Curtiz’s original FOUR DAUGHTERS (1938) – but Sinatra does manage to make John Garfield’s star-making, Oscar-nominated turn his own.
Curiously enough, the screenwriters of YOUNG AT HEART – Julius J. Epstein and Lenore Coffee – were the very same duo who had earlier adapted FOUR DAUGHTERS to the screen; however, as is already apparent, the original movie had four daughters instead of three, the character names were also altered and the remake was even given a schmaltzy, happy ending! Naturally, both Day and Sinatra get to sing in the film but they only have a modest duo of sorts at the very end; incidentally, I was let down by the finale not just because of its improbable “all’s well that ends well” qualities but also because, after Sinatra is seen toiling at his magnum opus throughout the whole movie, the result is just a corny love song! At the very least, I was expecting the classic title tune to be it (which he does get to sing over the opening credits). Incidentally, he seems to have had a good working relationship with director Gordon Douglas – since they would reteam three more times in the next 14 years.
- Bunuel1976
- May 16, 2008
- Permalink
- nicholas.rhodes
- Aug 20, 2006
- Permalink
Young at Heart starts off on the wrong foot in that the three main female leads (all very attractive and bright) will marry just about anyone who will ask them, and then proceed to boast about it. It does take on some weight as the story progresses, with the Sinatra character bringing some darker elements. The relationship between Day & Sinatra makes sense analytically (he's depressed and always down/she's the eternal optimist want to to save hime) but I'm not feeling a ton of chemistry between then, although I didn't feel any chemistry between Day & Young either. The film does look good though and the music is pleasant enough. If you're a Sinatra or Day fan then you will want to check this one out. It's not all bad fare for anyone else either.
Barney Sloan (Frank Sinatra) is a gifted musician who grew up orphaned and cynically resigned himself to "the fates". He quietly falls in love with kindhearted, upbeat Laurie Tuttle (Doris Day) who lives in a small town with her cheery family (father, aunt and two sisters). She is often perceptive about him, and very moved by his emotional outpourings through his music. Nonetheless, she misses the message behind Barney's shy kiss. She accepts Alex Burke's (Gig Young) marriage proposal, although she questions if Burke "needs" her and asks why they can't "keep things as they are." Discovering her sister's feelings for Alex is a turning point in Laurie's decision making. What part did her love for Barney play in her choice? Apparently, this is the question consuming Barney. He is often preoccupied with his own insecurities, and makes a destructive decision.
Sinatra's singing is beautiful ("Someone to Watch Over Me"). His portrayal is heartfelt. His chemistry with Day grows with their characters' relationship. "One for My Baby" and "You, My Love" are wonderful. In the latter, note how Barney is happy but still shy. This is a very moving romantic drama with a fine cast. I can relate to Barney, having a relative who grew up alone in the Depression. Thumbs up for the ending;
Sinatra's singing is beautiful ("Someone to Watch Over Me"). His portrayal is heartfelt. His chemistry with Day grows with their characters' relationship. "One for My Baby" and "You, My Love" are wonderful. In the latter, note how Barney is happy but still shy. This is a very moving romantic drama with a fine cast. I can relate to Barney, having a relative who grew up alone in the Depression. Thumbs up for the ending;
At the time they made this movie, Frank Sinatra and Doris Day were both on the cusp of filling out the iconic images they'd become in a few short years and show remarkable chemistry as (potentially...seemingly?) ill-fated lovers in a picture-postcard Connecticut town who get married and move to a tenement in Manhattan. It's too bad they didn't make another film together. YOUNG AT HEART (1954) is an oddball family drama, incredibly downbeat in parts, with an ending that's 180 degrees away from the one in FOUR DAUGHTERS (1938) which, like this film, was adapted from Fannie Hurst's novel, "Sister Act." (Sinatra plays the part John Garfield played in the earlier film.) Except for a beach scene, it was all shot entirely on Warner Bros. soundstages and backlots.
Sinatra and Day sing a lot but don't duet till the end. Sinatra sings more than Day and gets better songs, including some Gershwin and Cole Porter standards. Sinatra's solos are quintessential Sinatra. It's just him sitting at the piano, with his hat on, playing and singing to his heart's content, usually in a shabby club just before closing. Musically, it rarely gets better than this. I wish there'd been more of these numbers. The strange but colorful supporting cast includes Ethel Barrymore, Gig Young, Robert Keith (Brian's dad), Dorothy Malone, Lonny Chapman, and pre-Skipper Alan Hale Jr. These actors are all fine, but I would have preferred to see the two stars in something that wasn't cluttered with so many other people.
This was only the second film Sinatra made after his incredible Oscar-winning comeback in FROM HERE TO ETERNITY (1953). (In the interim, he'd played a presidential assassin—part of a hit team working for a high-level conspiracy—in SUDDENLY, 1954.) Sinatra's still a notably skinny guy here and looks much younger than his 38 years. He plays a talented musician who doesn't believe he has a chance at success. He mopes a lot and browbeats himself and resents others' success and always has a cigarette dangling from his lips. Plus, he keeps his hat on in the house. Doris almost weds Gig Young but dumps him at the last minute for his much needier friend, Sinatra. She tries to change the grumpy Sinatra, to make him happier. Good luck. Why didn't these stars ever reteam? Especially late in life, guided by a master director at the top of his game. What a film that would have made.
YOUNG AT HEART's director, Gordon Douglas, went on to direct Sinatra in four films in the 1960s, including two of the star's best, ROBIN AND THE SEVEN HOODS (1964) and THE DETECTIVE (1968).
Sinatra and Day sing a lot but don't duet till the end. Sinatra sings more than Day and gets better songs, including some Gershwin and Cole Porter standards. Sinatra's solos are quintessential Sinatra. It's just him sitting at the piano, with his hat on, playing and singing to his heart's content, usually in a shabby club just before closing. Musically, it rarely gets better than this. I wish there'd been more of these numbers. The strange but colorful supporting cast includes Ethel Barrymore, Gig Young, Robert Keith (Brian's dad), Dorothy Malone, Lonny Chapman, and pre-Skipper Alan Hale Jr. These actors are all fine, but I would have preferred to see the two stars in something that wasn't cluttered with so many other people.
This was only the second film Sinatra made after his incredible Oscar-winning comeback in FROM HERE TO ETERNITY (1953). (In the interim, he'd played a presidential assassin—part of a hit team working for a high-level conspiracy—in SUDDENLY, 1954.) Sinatra's still a notably skinny guy here and looks much younger than his 38 years. He plays a talented musician who doesn't believe he has a chance at success. He mopes a lot and browbeats himself and resents others' success and always has a cigarette dangling from his lips. Plus, he keeps his hat on in the house. Doris almost weds Gig Young but dumps him at the last minute for his much needier friend, Sinatra. She tries to change the grumpy Sinatra, to make him happier. Good luck. Why didn't these stars ever reteam? Especially late in life, guided by a master director at the top of his game. What a film that would have made.
YOUNG AT HEART's director, Gordon Douglas, went on to direct Sinatra in four films in the 1960s, including two of the star's best, ROBIN AND THE SEVEN HOODS (1964) and THE DETECTIVE (1968).
- BrianDanaCamp
- Feb 21, 2010
- Permalink
This is not a classic film. It won't be on any "Best Of" Lists. It is simply a wonderful film that you can enjoy when you want to see a good movie. I keep returning to this one, because it provides pure, unadulterated enjoyment. It is glossy entertainment, and unabashedly romantic. A perfect rainy afternoon movie.
- cocteauaddict
- Oct 27, 2003
- Permalink
"Young at Heart" is a reworking of the 1938 film "Four Daughters", though in the process one of the daughters was inexplicably lost and so there are only three in this remake. Plus, this time it is more of a musical. Both are quite pleasant films but not a lot more.
The film begins with a musical family--a father (Robert Keith), an aunt (Ethel Barrymore) and three daughters (Doris Day, Dorothy Malone and Elisabeth Fraser). They are quite happy but now that the daughters have grown, love and marriage are bringing change. Gig Young plays the sort of role you'd expect for Ralph Bellamy--the nice guy who ends up, inexplicably, losing the girl. Just like in the first film, it's really not clear WHY Doris Day's character would jilt Young for Frank Sinatra's character since he isn't particularly likable. Still, despite this central relationship and the chemistry not working, the film does make up for this, a bit, with very nice songs. Day is very good but Sinatra's theme song is among his very best, so it's hard to hate the film. However, don't be surprised at the very end of the film--it was NOT the same ending from "Four Daughters" as apparently Sinatra hated this ending and insisted it be changed. Worth seeing but not especially memorable except for the title song...now THAT is terrific.
The film begins with a musical family--a father (Robert Keith), an aunt (Ethel Barrymore) and three daughters (Doris Day, Dorothy Malone and Elisabeth Fraser). They are quite happy but now that the daughters have grown, love and marriage are bringing change. Gig Young plays the sort of role you'd expect for Ralph Bellamy--the nice guy who ends up, inexplicably, losing the girl. Just like in the first film, it's really not clear WHY Doris Day's character would jilt Young for Frank Sinatra's character since he isn't particularly likable. Still, despite this central relationship and the chemistry not working, the film does make up for this, a bit, with very nice songs. Day is very good but Sinatra's theme song is among his very best, so it's hard to hate the film. However, don't be surprised at the very end of the film--it was NOT the same ending from "Four Daughters" as apparently Sinatra hated this ending and insisted it be changed. Worth seeing but not especially memorable except for the title song...now THAT is terrific.
- planktonrules
- May 20, 2013
- Permalink
This film features Sinatra relishing some great songs and some fine dialogue which suits him perfectly. The scene where he sings "Someone to Watch Over Me" at the cafe piano is quite unforgettable. This is a very re-watchable movie with a fine cast - Doris Day, Gig Young, Ethel Barrymore, Brian Keith etc.
The standard songs are joined by some new ones written for the production - and they too are a total delight. A fine example of 1950s Americana as seen by Hollywood.
The standard songs are joined by some new ones written for the production - and they too are a total delight. A fine example of 1950s Americana as seen by Hollywood.
- rothwellstudios
- Apr 11, 2000
- Permalink
- jboothmillard
- Jan 17, 2007
- Permalink
Throughout the 1930s and well into the 1940s musicals were inevitably lighthearted confections calculated to send the audience away filled with good cheer and humming a tune. In the late 1940s, however, a different type of musical emerged. The story was usually about a singer or a star or a musician, thus allowing plenty of room for the songs and production numbers the audiences expected--but far from being lighthearted, it was often a dark tale. It was, in a phrase, musical noir.
Many performers took a turn in this genre, but there is really only one who did so consistently: Doris Day. Given her extremely popular comedies of the late 1950s and early 1960s, it is easy to forget that she had some serious acting chops--but home studio Warner Brothers was quick to spot her potential in this area and showcase it in such non-musicals as STORM WARNING. And although the studio certainly put her through many "light hearted musical" hoops, it also gave her several musicals in which her role was more dramatic than comic: MY DREAM IS YOURS, YOUNG MAN WITH A HORN, I'LL SEE YOU IN MY DREAMS--and in 1954 YOUNG AT HEART.
The film is based on the 1938 FOUR DAUGHTERS and keeps much the same story. The Tuttles are a musical family: father Gregory (Robert Keith) and daughters Laurie (Doris Day), Fran (Dorothy Malone), and Amy (Elizabeth Fraser) are an instrumental quartet whose home lives are kept on even keel by non-musical Aunt Jessie (the legendary Ethel Barrymore.) When Laurie accepts a marriage proposal from handsome Alex Burke (Gig Young) it seems the most the family has to worry about is going from quartet to trio--a seemingly perfect set up for musical comedy. But Alex has a friend, and upon his arrival the story takes a dark turn indeed. The friend is Barney Sloan, a hard-knocks musician in poor health who soon has eyes for Laurie. And he is played by none other than Frank Sinatra.
Just as it is easy to forget Day's skill as a dramatic actress, so too is easy to forget Sinatra's abilities as a dramatic actor. Like Day, Sinatra first came to the screen in a cream-puff movie: HIGHER AND HIGHER. But Sinatra was at MGM, and at MGM cream-puff musicals were the unalterable order of the day; it was not until a decade later that he dropped critical jaws with FROM HERE TO ETERNITY. The pairing of Day and Sinatra is a stroke of genius, and it is their chemistry upon which the major appeal of the film rests: they spark and sizzle as the pretty and very good girl and the forlorn, been-there-done-that guy. The paring is all the more effective due to unexpectedly solid support. Ethel Barrymore was a legendary actress, and at the time of this film she was largely confined to a wheelchair--but you would never know it from her remarkably effective performance as the acidic, knowing, and yet kindly Aunt Jessie. Gig Young and Dorothy Malone also score in their roles enough to make you wish they had more screen time.
But the film has a flaw, and it is a major one. The film was originally intended as a very direct remake of FOUR DAUGHTERS--but Sinatra greatly disliked the original story's ending and insisted on a rewrite. The result is singularly unfortunate: the story builds toward a seemingly inevitable and very downbeat conclusion... only to suddenly shift into happy-ending-mode in a way that undercuts everything that has gone before. It's a tremendous pity; had it been otherwise, YOUNG AT HEART might well be considered one of the great films of its decade.
Both Day and Sinatra would go on to other dramatic roles; Day would hit a highwater mark with LOVE ME OR LEAVE ME and THE MAN WHO KNEW TOO MUCH while Sinatra would dazzle even his worst critics with THE MAN WITH THE GOLDEN ARM. It's a great pity that they were never teamed again--but, and in spite of its unfortunate ending, YOUNG AT HEART not only gives us that teaming, it catches both of them on an upward curve surrounded by first rate talents. Recommended.
GFT, Amazon Reviewer
Many performers took a turn in this genre, but there is really only one who did so consistently: Doris Day. Given her extremely popular comedies of the late 1950s and early 1960s, it is easy to forget that she had some serious acting chops--but home studio Warner Brothers was quick to spot her potential in this area and showcase it in such non-musicals as STORM WARNING. And although the studio certainly put her through many "light hearted musical" hoops, it also gave her several musicals in which her role was more dramatic than comic: MY DREAM IS YOURS, YOUNG MAN WITH A HORN, I'LL SEE YOU IN MY DREAMS--and in 1954 YOUNG AT HEART.
The film is based on the 1938 FOUR DAUGHTERS and keeps much the same story. The Tuttles are a musical family: father Gregory (Robert Keith) and daughters Laurie (Doris Day), Fran (Dorothy Malone), and Amy (Elizabeth Fraser) are an instrumental quartet whose home lives are kept on even keel by non-musical Aunt Jessie (the legendary Ethel Barrymore.) When Laurie accepts a marriage proposal from handsome Alex Burke (Gig Young) it seems the most the family has to worry about is going from quartet to trio--a seemingly perfect set up for musical comedy. But Alex has a friend, and upon his arrival the story takes a dark turn indeed. The friend is Barney Sloan, a hard-knocks musician in poor health who soon has eyes for Laurie. And he is played by none other than Frank Sinatra.
Just as it is easy to forget Day's skill as a dramatic actress, so too is easy to forget Sinatra's abilities as a dramatic actor. Like Day, Sinatra first came to the screen in a cream-puff movie: HIGHER AND HIGHER. But Sinatra was at MGM, and at MGM cream-puff musicals were the unalterable order of the day; it was not until a decade later that he dropped critical jaws with FROM HERE TO ETERNITY. The pairing of Day and Sinatra is a stroke of genius, and it is their chemistry upon which the major appeal of the film rests: they spark and sizzle as the pretty and very good girl and the forlorn, been-there-done-that guy. The paring is all the more effective due to unexpectedly solid support. Ethel Barrymore was a legendary actress, and at the time of this film she was largely confined to a wheelchair--but you would never know it from her remarkably effective performance as the acidic, knowing, and yet kindly Aunt Jessie. Gig Young and Dorothy Malone also score in their roles enough to make you wish they had more screen time.
But the film has a flaw, and it is a major one. The film was originally intended as a very direct remake of FOUR DAUGHTERS--but Sinatra greatly disliked the original story's ending and insisted on a rewrite. The result is singularly unfortunate: the story builds toward a seemingly inevitable and very downbeat conclusion... only to suddenly shift into happy-ending-mode in a way that undercuts everything that has gone before. It's a tremendous pity; had it been otherwise, YOUNG AT HEART might well be considered one of the great films of its decade.
Both Day and Sinatra would go on to other dramatic roles; Day would hit a highwater mark with LOVE ME OR LEAVE ME and THE MAN WHO KNEW TOO MUCH while Sinatra would dazzle even his worst critics with THE MAN WITH THE GOLDEN ARM. It's a great pity that they were never teamed again--but, and in spite of its unfortunate ending, YOUNG AT HEART not only gives us that teaming, it catches both of them on an upward curve surrounded by first rate talents. Recommended.
GFT, Amazon Reviewer
FRANK SINATRA followed up his "From Here To Eternity" triumph by starring opposite DORIS DAY in a musical remake of "Four Daughters" called YOUNG AT HEART. He gets even better song material than Day, including memorable versions of "Young at Heart" and "One for My Baby", but Day is compensated by a nice dramatic role that gets her brand of warmth and sincerity, as well as a duet with Sinatra on "You, My Love".
ETHEL BARRYMORE is the elderly aunt and ROBERT KEITH is the father, while GIG YOUNG plays the young man that Day almost marries until she discovers that her sister is broken-hearted over their upcoming marriage. Instead, she runs off with the loner, Barny (Sinatra), and has a rather tumultuous marriage that she's determined to salvage. This version of the tale has her succeed, avoiding the downbeat ending of the original in which the John Garfield character (played by Sinatra)died.
It's pleasant, nostalgic and the kind of musical they never make any more. Particularly sensitive performances from Sinatra, Day and Gig Young under Gordon Douglas' direction. Worth seeing for fans of Day and Sinatra especially.
The only big difference between this and the original is that color and music have been added. Otherwise, the script is pretty close to the 1938 version directed by Michael Curtiz.
ETHEL BARRYMORE is the elderly aunt and ROBERT KEITH is the father, while GIG YOUNG plays the young man that Day almost marries until she discovers that her sister is broken-hearted over their upcoming marriage. Instead, she runs off with the loner, Barny (Sinatra), and has a rather tumultuous marriage that she's determined to salvage. This version of the tale has her succeed, avoiding the downbeat ending of the original in which the John Garfield character (played by Sinatra)died.
It's pleasant, nostalgic and the kind of musical they never make any more. Particularly sensitive performances from Sinatra, Day and Gig Young under Gordon Douglas' direction. Worth seeing for fans of Day and Sinatra especially.
The only big difference between this and the original is that color and music have been added. Otherwise, the script is pretty close to the 1938 version directed by Michael Curtiz.
Young at Heart is a good title for this particular film. I couldn't help thinking towards the end of the film that Alex should have married Laurie. The character of Barney Sloan was too self-pitying - if he were a more stronger type (positive) with much more humour, I would have been more inclined to say he was the right guy. I even felt that maybe Laurie did regret her marriage to Barney. I was happy to see Barney pull through from the operation at the end knowing that there was still hope in love. A very good story line nonetheless, nice costumes and set, also good song performances from both Frank Sinatra and Doris Day.
- innamorata22
- Jul 27, 2000
- Permalink
Once again Gordon Douglas deals with characters faced with moral dilemmas. In this case the three sisters and their infatuation with Gig Young, Doris Day's commitment to Frank Sinatra, and Sinatra's decision. From the opening scene of the neighborhood in which they live to the very end this movie is much more then it seems. Within the artificial look of the sets,there's no hiding the many themes that meander throughout this somewhat dark (musical?). For those who don't get it, take another look. These characters are far deeper then the picture perfect world they live in might make you believe.
I really enjoyed this film, but it was way big lame and unrealistic. Would a man jilted at the alter take the rejection as well as Alex Burke did? Plus, didn't these 3 daughters strike you as a tad mature to still be living at home waiting for hubbies? I will say that Frank Snotra played the part of the down trodden, self pitying loser to perfection and he and Doris Day warbled wonderfully. This perfect little family with their pat lives and troubles, coupled with the smaltzy ending, made for a very predictable picture.
- helpless_dancer
- Jul 15, 2001
- Permalink
Doris Day and her two sisters all fall for composer Gig Young in Young at Heart. However, even though his last name is featured in the title, Gig Young isn't the male lead. Doris wins out over her sisters, and she and Gig become engaged. In walks Frank Sinatra. He's Gig's musical arranger, and when he visits the family to help with some music, he clashes with Doris. She's sunshine and daisies; he's a dark raincloud. They bicker and banter as he tries to impart his cynical wisdom and she tries to brighten his outlook. I think you can guess what happens next.
Ethel Barrymore, Dorothy Malone, and Robert Keith make up the adult family chaperones—would you leave your three daughters alone in the house with two strange men?—and a variety of composers contribute to the songs Frankie and Doris sing, although not every one was written for the film. "One for My Baby (And One More for the Road)", "Someone to Watch Over Me", "Just One of Those Things", and of course the title song, are performed in the movie. While some scenes are cute, I found an equal number of scenes to be depressing. In real life, we've all found it tempting to try and cheer up a perpetually grumpy person, but in a movie, it's a little tiring. Yes, it's Frank Sinatra so we want to forgive him, but who really wants to see Doris "Ms. Sunshine" Day struggle so much to make him smile?
Ethel Barrymore, Dorothy Malone, and Robert Keith make up the adult family chaperones—would you leave your three daughters alone in the house with two strange men?—and a variety of composers contribute to the songs Frankie and Doris sing, although not every one was written for the film. "One for My Baby (And One More for the Road)", "Someone to Watch Over Me", "Just One of Those Things", and of course the title song, are performed in the movie. While some scenes are cute, I found an equal number of scenes to be depressing. In real life, we've all found it tempting to try and cheer up a perpetually grumpy person, but in a movie, it's a little tiring. Yes, it's Frank Sinatra so we want to forgive him, but who really wants to see Doris "Ms. Sunshine" Day struggle so much to make him smile?
- HotToastyRag
- Sep 14, 2017
- Permalink
- writers_reign
- Jan 13, 2006
- Permalink