The Marrying Kind (1952)

THE MARRYING KIND is the saddest part Judy Holiday ever played because of one sequence in the middle of the film that is every parent's nightmare. I won't go into the details about that scene, except that when it winds up the way it does the audience has no idea of what is about to happen.

George Cukor, if any director, was the one who most frequently directed Holiday in her films from ADAM'S RIB to IT SHOULD HAPPEN TO YOU. She was a New York City based actress/entertainer, and Cukor had a love affair with the City, using it as a live backdrop whenever he could (such as using an old theater that was going to be demolished in A DOUBLE LIFE). Here we get glimpses of the city in the early 1950s in Central Park, on Ninth Avenue, in the Butter and Egg district, and elsewhere. But Cukor was also using the film as a hoped for runway to stardom for actor Aldo Ray. Ray had made about four films, mostly in bit parts, and this was his first star turn.

The film follows how Holiday's and Ray's seven year marriage is facing obliteration in Madge Kennedy's divorce court. Kennedy is closing the court for the day as the couple's lawyers are arguing, and she notices how the couple is not responding at all. So she closes down, but returns and sits with the couple and asks why they want the divorce.

We then follow the story of their early courting (they meet in Central Park), their early dating, the decision to marry, their honeymoon (paid by Holiday's brother-in-law George Alexander) in Atlantic City, their apartment in Peter Cooper Village in Manhattan, and Ray's attempts to better his job and financial position. The early section shows the marriage got off well enough, but that certain strains began (Holiday's yakking causes Ray to seek out a gag gift of ear plugs his fellow workers gave him). The years add growing problems as Ray keeps just missing some financial success that might put them into an easier way of life (an invention he comes up with is also developed and marketed by a better organized rival). Family problems and jealousies undermine the marriage, and the tragedy does not help. Finally, of all things a legacy to Holiday from a former employer is the last straw.

But Kennedy is not convinced the two still don't love each other, and she decides to try to push them to settle it quietly - will she succeed or fail?

The film has nice moments, like Holiday singing "Dolores" (briefly) on a ukulele, Ray doing the Rumba at a party at Alexander's, and Ray's brother-in-law Mickey Shaughnessy giving a really nice little speech of how he is not ashamed of being a humble little butcher in Manhattan, daily, rather than reaching for the stars. The supporting cast includes several familiar faces (some in bit parts) like Peggy Cass, Frank Fergusson, Charles Bronson, Frank Ferguson, and Nancy Culp. Holiday and Ray make an appealing couple, and one ends up hoping they come to their senses in time. On the whole it is a very worthy piece of work by it's stars and directors, and a fine film.

by theowinthrop