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6,8/10
1,2 k
MA NOTE
Ajouter une intrigue dans votre langueA middle-aged man tries to reconnect with his illegitimate son, who was given to an orphanage many years ago.A middle-aged man tries to reconnect with his illegitimate son, who was given to an orphanage many years ago.A middle-aged man tries to reconnect with his illegitimate son, who was given to an orphanage many years ago.
- Réalisation
- Scénario
- Casting principal
Byron Amidon
- Minor Role
- (non crédité)
Margaret Bert
- Nurse
- (non crédité)
Nesdon Booth
- Pool Room Proprietor
- (non crédité)
Lovyss Bradley
- Department Store Customer
- (non crédité)
Avis à la une
This film turned out to be a real tear-jerker, but in a good way!! James Cagney takes centre stage as the man looking for the son he has never seen. Barbara Stanwyck is good in a supporting role, although I felt she could have been given an even better part. There are some lovely scenes between Cagney and the young girl he ends up bonding with and overall I did enjoy this movie very much.
These Wilder Years marks the only teaming of James Cagney and Barbara Stanwyck. It would have been nice if they had been teamed for a better film. Can't you just see Stanwyck in Virginia Mayo's part in White Heat?
Still These Wilder Years is not a bad film, high class soap opera the kind of stuff that became popular on television in the Eighties.
James Cagney is a millionaire industrialist looking for the son whose paternity he denied when he was sowing his wild oats. Barbara Stanwyck runs the home for unwed mothers where the girl who Cagney was involved with came and gave up her kid for adoption.
Cagney has the resources to get his way, but Stanwyck with the confidentiality of adoption records has the law on her side. Or has she?
Walter Pigeon plays Cagney's attorney and Don Dubbins, a young actor whose career Cagney was pushing plays the son and both do well. Look for bit parts from Tom {BillyJack} Laughlin, Michael Landon, and Dean Jones all at the start of their careers.
Cagney and Stanwyck are both players with an edge to their parts. It's like they've been taken down into second gear for this film. Still it's a pleasant enough movie. Look for young Betty Lou Keim who is a current unwed mother in Stanwyck's charge. Her scenes with Cagney are quite poignant.
Still These Wilder Years is not a bad film, high class soap opera the kind of stuff that became popular on television in the Eighties.
James Cagney is a millionaire industrialist looking for the son whose paternity he denied when he was sowing his wild oats. Barbara Stanwyck runs the home for unwed mothers where the girl who Cagney was involved with came and gave up her kid for adoption.
Cagney has the resources to get his way, but Stanwyck with the confidentiality of adoption records has the law on her side. Or has she?
Walter Pigeon plays Cagney's attorney and Don Dubbins, a young actor whose career Cagney was pushing plays the son and both do well. Look for bit parts from Tom {BillyJack} Laughlin, Michael Landon, and Dean Jones all at the start of their careers.
Cagney and Stanwyck are both players with an edge to their parts. It's like they've been taken down into second gear for this film. Still it's a pleasant enough movie. Look for young Betty Lou Keim who is a current unwed mother in Stanwyck's charge. Her scenes with Cagney are quite poignant.
Not quite a weeper, These Wilder Years is one of those small-scale, thoughtful dramas that rarely if ever are made nowadays. It's about a steel tycoon (James Cagney) who, in mid-life crisis, tries to find the son he abandoned, along with the mother, twenty years earlier. Used to getting his own way by means of money and mouthpieces, he runs into the head of a home for what once were called "wayward girls" (Barbara Stanwyck). She refuses to bend to his charm, his money, or, finally, his legal talent (Walter Pidgeon).
The story -- possibly more resonant today than when it was released -- takes some unexpected (not to say far-fetched) turns; it's sentimental, all right, but stays on the dry side of mawkish. Its main problem is one of audience expectations. Starring two of the most powerful actors in the history of movies -- Stanwyck and Cagney -- it keeps them at half-throttle throughout. Of course they acquit themselves admirably: they're both seasoned troupers with a wide range. But the confrontational fireworks we hope for and expect never quite come. Nonetheless, These Wilder Years remains a solid and fairly credible film.
The story -- possibly more resonant today than when it was released -- takes some unexpected (not to say far-fetched) turns; it's sentimental, all right, but stays on the dry side of mawkish. Its main problem is one of audience expectations. Starring two of the most powerful actors in the history of movies -- Stanwyck and Cagney -- it keeps them at half-throttle throughout. Of course they acquit themselves admirably: they're both seasoned troupers with a wide range. But the confrontational fireworks we hope for and expect never quite come. Nonetheless, These Wilder Years remains a solid and fairly credible film.
A nice change of pace for Cagney. It's basically a soap opera with Cagney looking for his 20 year old adopted son, the mother is dead and he goes to an orphanage run by Barbara Stanwyck to find out where he is. James Cagney is great and so is Barbara Stanwyck. Walter Pidgeon doesn't have much to do as Cagney's lawyer. Watch it.
Maltin calls this a soap opera. That's what I expected it to be, but I feel that it's better than that, largely due to Cagney's performance. He's quite believable as a middle aged man who regrets the mistakes of his youth. Barbara Stanwyck is a woman struggling with an emotional and legal conflict. Throw in a good courtroom scene, and you've got a movie that holds your interest to the end. The final resolution is a bit sappy, but overall, the film is pretty good.
Le saviez-vous
- AnecdotesFirst film roles of Michael Landon and Tom Laughlin.
- GaffesWhen Cagney rings doorbell on his first visit to Stanwyck's house, the bell rings before he actually presses the button.
- Citations
Ann Dempster: There's always a kind of hope in everything.
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Détails
Box-office
- Budget
- 1 257 000 $US (estimé)
- Durée1 heure 31 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.85 : 1
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