weezeralfalfa The theme of this unusual comedic drama is that the policy by many companies of the time of mandatory retirement at a certain age(commonly 65 or 70) is of questionable advisability for the company and robs many still quite capable seniors of some of their potentially most productive years, as well as an opportunity to help support themselves and perhaps others. There are, of course, various reasons why a company might feel it benefits from a mandatory age cut off.. Older workers typically cost more in salary and health insurance. They generally have much more health issues. Many will have lost their youthful zip or feel burned out. So, which policy is likely to be best for the company? Monty Woolsey, as John Hodges, argues that it's best to have some capable elderly workers around, with more work and life experiences than younger ones. Should a company's managers decide who is capable and who is not, rather than one shoe fits all?There are basically 3 personal happy endings dramatized that result from Woolley's masquerading of the CEO of the parent company of this very complex multicompany conglomerate(Consolidated Motors).Firstly, Woolley does manage to convince the president(McKinley) of his own company: Acme Printing, to rescind the policy of mandatory age-based retirement, which means that he, as a recent retiree is allowed to return to his job if he wishes. Also, 2 couples are indirect beneficiaries. His granddaughter's fiancée(Elliott) gets a promotion because his rival claimed to McKinley that Cleveland, the CEO of the parent company, was the victim of an imposter, causing McKinley to conclude that he must be crazy. Also, McKinley, was 'forced' into a reconciliation with his wife of 20 years, after she announced she would file a divorce so that she could marry the more charming and flattering Woolley(Cleveland), who was a widower. Seems McKinley had been neglecting her in recent times in favor of his young curvaceous secretary(Marilyn Monroe). But Woolley convinced her that, in the long run, she would be better off with her same-aged husband, if he reformed.So, where is the comedy, as some reviewers have asked? True, it's not a belly laugher. Partly, it's the idea that Woolley succeeded beyond his wildest dreams in not only lobbying to do away with the age cut- off, but in becoming an overnight celebrity within his company and even the newspapers, because of his superficial pronouncements on how to keep the country out of depressions and inflationary spirals. The lack of recognition of either Woolley or Cleveland by McKinley serves as a sarcastic take on the growing anonymity of workers, and even bosses, in huge plants and in huge conglomerates. Then, there's the blast of condemnation by both McKinley and other manager, when Erickson(Elliott's rival for a promotion) claims that the man they were convinced was Cleveland was an imposter. Also, when McKinley arrived at the Hodges home, looking for his wife, when the real Cleveland there claimed he was such, McKinley flew into a rage, calling him another imposter.Of course, in reality, it's implausible that a man with such a distinctive look and style of talking would be missed by his president. This is a significant, but necessary, weakness of the script.Besides Woolley, middle-aged Constance Bennett, was nearing the end of her Hollywood days. Both would find some work in TV dramas. Woolley had most often been cast as a character actor, although he had a few other leading man roles. For a man brought up in the high society of Manhattan, a graduate of Yale and Harvard, his erudite aristocratic persona came naturally. Thelma Ritter, although first billed among the women, didn't have much of an impact on the proceedings. Easily recognized by her Brooklyn accent. ...Jean Peters, as Woolley's mature granddaughter, would again be cocast with Marilyn Monroe in the popular "Niagara". Marilyn appears several times in the present film ,as McKinley's secretary and apparent lover.Did you notice that the president of Acme Printing Company and the CEO of the parent company both have the name of a US president of the late 19th century.Available as part of the Marilyn Premier DVD Collection

Neil Doyle This is one of those conventional comedies of the '50s in which the righteous triumph over big bad corporate America, with MONTY WOOLLEY as a man who becomes indignant when forced to retire and goes about hatching a plan to draw attention to the subject of forced retirement.The theme isn't conventional, but the treatment is. Woolley gets to strut his stuff in scene after scene until the point becomes so obvious that you're willing to watch others in the cast who seem to be watching him on the sidelines. And there are some new faces to watch. David WAYNE, JEAN PETERS, RUSS TAMBLYN and newcomer MARILYN MONROE, who already had such a publicity build-up from Fox that many flocked to see the film because Marilyn was in it. She has a small, but choice role, as a curvy secretary who knows her effect on men. She shines (glows is a better word) in a charming small role.If you're a Monty Woolley fan and like his particular style of emoting (acid-tongued and quick witted most of the time), you'll enjoy this, although it's certain a lesser work considering that it was written by Paddy Cheyefsky, who was then at the height of his writing powers.

theowinthrop Monty Woolley's film career has not had as much discussion as it deserves. The one time head of Yale University's Drama Department, and close personal friend (possibly lover) of Cole Porter, had been involved in Broadway for many years. He was, for example, in the original cast of the Rodgers and Hart Musical ON YOUR TOES, as the Russian Ballet impresario who sings TOO GOOD FOR THE AVERAGE MAN. He also made many film appearances in the 1930s, including the irascible, but eventually dumbfounded French judge in Mitchell Leisin's MIDNIGHT. But his fame would come when he was starred in the original production of THE MAN WHO CAME TO DINNER, and subsequently was lucky enough to repeat his performance in the film version. Other film starring parts were his as well, such as THE PIED PIPER, and his pair of films co-starring Gracie Fields, HOLY MATRIMONY and MOLLY AND ME. But more frequently he ended up in supporting parts (even in THE MAN WHO CAME TO DINNER it was Bette Davis who was given the starring position in the credits!). More typical of his later films was MISS TATLOCK'S MILLIONS, where he and Dan Tobin were two greedy uncles of "Schuyler Tatlock" (John Lund). A better (deeper) part was the Latin Scholar in THE BISHOP'S WIFE, who is going to write the greatest history of Rome since Edward Gibbon. The problem, for Woolley, was age. To an extent, in the early 1940s, he was able to still play grouchy sorts who were not too old (say about 50). But as the 1940s went forward, Woolley's age became a handicap. It was harder and harder to find material for him where he was the star.Without a doubt his last starring role was as John Hodges, the 65 year old printer who is forced by a company policy to retire while he is still mentally and physically vigorous. Few films from Hollywood had tackled the issue of aging. The best known one was Leo McCarey's MAKE WAY FOR TOMORROW, with Victor Moore and Beulah Bondi, which remains a heartbreakingly sad film. But that was made in 1935. Except for an occasional comment about aging in a film (like Berton Churchill's comment to John Carridine not to heed his white hairs if he is hesitant to challenge Churchill to a fight in STAGECOACH), most of the movies ignored aging. Even before the 1960s and President Kennedy's pushing a cult of youth and vigor, Hollywood was pretty much doing the same thing.So this is why AS YOUNG AS YOU FEEL is such an unusual film. Besides Woolley getting one of the best parts of his career, it tackled a relatively taboo subject. Why talk about the inevitable that nobody likes to think about - aging and weakening...and eventually death. It's a downer in terms of a theme for a film (as McCarey's movie had brilliantly shown). But in point of fact AS YOUNG AS YOU FEEL is the reverse side of the coin. Woolley is forced to retire from his firm, and is angry about it. Then, by chance, he is able to temporarily take over the media and town's attention when he is mistaken for the multi-millionaire (Minor Watson) who has taken over the factory that retired Wooley. Being an intelligent man, his opinions get huge publicity and sweep the nation. Woolley stresses that the chronicle age of the individual does not mean that he or she is to be put out to pasture, if he or she is capable of functioning and contributing to society. Soon Woolley finds he is in demand everywhere due to his spunky philosophy. Watson, of course, is amazed at the error, but does not stop it - he finds that it is enhancing his own public image (after all, the media and the public think Woolley is Watson). At the same time, Woolley finds the masquerade is getting out of hand in many ways. It is playing havoc with his grandson (David Wayne's) career. It is also playing havoc with the family life of the manager of the factory (Albert Dekker and his wife Constance Bennett). So caught up in the American dream of making a success of himself for his family, Dekker has distanced himself from his wife and son. Then Woolley shows up, and Bennett decides she wants to divorce her stodgy husband Decker for that lively old wire Woolley!It was a nicely written role (by Paddy Chayefsky)and Woolley did very well in it. Ironically, despite the philosophical point of view in the film, the studio system ignored the message. Woolley never had another great lead part after this film. His last memorable part was as an elderly adviser to the young Persian Monarch in the musical KISMET - not a really big part that.Ironically too, the film was one of a long string of early films that Marilyn Monroe appeared in from 1949 (from LOVE HAPPY) to 1952 (the Cary Grant - Ginger Rogers MONKEY BUSINESS). Monroe did well in most of these roles, and they gave her exposure, but even in the meatiest ones (CLASH BY NIGHT) she did not "star" in them. Yet Marilyn's name means so much to this day in film lore to the public, these early films are usually sold in "Marilyn Monroe" collections. The ever youthful, ever too fragile Marilyn remains a Hollywood icon forty - four years after her death in 1962. Monty Wooley died in 1963, but I doubt that a hundredth of the people who adore the memory of Marilyn ever think seriously about Monty and his best performances.

biker45 AS YOUNG AS YOU FEEL tries hard to be entertaining, and succeeds to a limited degree. The basic story is a social commentary on the errant ways of big business, and it remains somewhat relevant 51 years after the films release. It is classified as a comedy, but if the viewer is looking for belly laughs, there are none here. The main plot point (forced retirement of workers at age 65 by corporate policy) is belabored to the point of exhaustion. The film is dominated by Monty Wooley (he is in almost every scene), and if one is not particularly enamored of his acting style, the film quickly grows tedious. A notable highlight is the presence of a young Marilyn Monroe in the role of a secretary. The sexist treatment she receives from her boss, and her reactions to it, are the outstanding moments in the film, even though they have nothing much to do with the main story line.In summary, this is a dry, bland film that will tend to bore audiences of the present day. Older viewers (especially fans of Mr. Wooley) may find it somewhat appealing.