Highly Overrated But Still Good

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I have watched Marjorie Morningstar on video a few times and have read others' review of it. As a Jew, I was not bothered by the stereotypes. They rang true because in that day an age, that is how parents viewed marriage for their children. Interesting that the Bar Mitzvah was held in an Orthodox synagogue where there is separate seating men and women though the religious observance of the Morgensterns is questionable. In any case, while the premise of a young woman falling for an older man with great passion is believable, Gene Kelly as Noel Airman to me was not even likable. And it is wonder why they needed to cast a 46-year old man in a role of a 33 year old. Ed Wynn and Carolyn Jones were a delight, while most of the other characters were not particularly noteworthy. The movie ending is far different from the book, and honestly, I think I prefer the movie ending though the book's end was probably more true to life.

One of Warner Bros' better 1950s melodramas, "Marjorie Morningstar" stars Natalie Wood as a Marjorie Morgenstern, a young Jew growing up in New York City. Marjorie wishes to be a dancer and artist, but her strict parents desire for her to embark upon a more "safe" and "practical" future. Marry a doctor, they say, get a proper career.Marjorie, of course, does the opposite. On the cusp of womanhood, and bubbling with pent up sexual energy, she travels to a summer camp. Here she meets Noel Airman (Gene Kelly), a dancer and social director whom she falls instantly in love with. Noel adores Marjorie too, but is hesitant to take things further. They're too different - she too young and he a failed artist - and so he insists that their relationship be scuttled. Marjorie attempts to convince him otherwise, but to no avail. She then abides by her parents wishes and hooks up with a "safe", "stable" and "successful" young man.The film doesn't pass judgement on either Noel or Marjorie. Indeed, it pities them both. Noel tries to mould himself into the image of a "successful man" - he gets a job in advertising, capitalism's playpen for wannabe artists – but it's no use. He drops out and heads to Europe and then Mexico. Marjorie, meanwhile, becomes trapped in the very social roles she hoped to avoid."Marjorie Morningstar" was directed by Irving Rapper. The film's too long, features too many Jewish stereotypes and modern audiences will no doubt find it somewhat obvious. Nevertheless, it's a good example of the kinds of ambitious melodramas (Vincente Minnelli, Nicholas Ray etc) which were being produced in the era.Incidentally, this was one of the legendary Gene Kelly's last serious roles. He does well, portraying deep insecurities behind much sexiness and raw physicality. This was also one of Natalie Wood's earliest adult roles. She's as beautiful as ever - and Rapper knows it, first revealing her in a state of semi-undress - and enlivens what is otherwise a typical "Jewish princess" role. Wood would herself star in a number of films which were unconsciously about a then brewing sexual revolution. "Marjorie Morningstar's" plot, for example, echoes the plot of Wood's "Splendour in the Grass", which sees Wood playing a young girl in small town Kansas who struggles to reconcile promiscuity and conservative, social mores. "Love With The Proper Stranger", meanwhile, saw Wood playing a woman who struggles with sex out of wedlock, "This Property is Condemned" finds her playing a young woman who is essentially used as a prostitute by her mother, and Wood's "Bob and Carol and Ted and Alice" sees her playing a upper class woman who embraces sexual orgies and the free love, hippie ethos.8/10 – Worth one viewing.

The movie suffers in two ways when compared to the magical novel about theater and love: (1) by losing the late-Depression setting, when show-business was very different than in the 1950's, and (2) by casting Gene Kelly (who himself felt he was wrong for the part) as the tall, blond Noel Airman (Warner Brothers must have lost its mind not to use its contract star Tab Hunter). But those two compunctions aside, there is no other movie like it. Natalie Wood, not yet a superstar, had to read fourteen times for the role, but all of us who loved the book knew there was no one else for it. Natalie's acting ability may have been limited to looking pretty and poignant, but there's not much else that ambitious, innocent Marjorie needs to do. This story is a loving tribute to a nice girl, and a tender acknowledgment of how hard life is for one. So far as I know, no other story captures those years when a pretty young American female has the world to choose from--or how confusing her multitude of choices are. As Marjorie slowly travels through the gauntlet of family and education (and the foggy fantasies of fame that tempt any attractive teen who draws attention and compliments) toward her inevitable, bittersweet fate, a whole world is revealed--the world of The Pretty Girl, a world of school and dates and dancing and romance--with no one really to guide her--because everyone either envies her or wants to take advantage of her. By taking her story seriously, novelist Herman Wouk created a highly individual and yet universal character, and Natalie simply WAS her. The scriptwriter did a marvelous job of condensing a long and elaborate book into an entertaining and moving photo-play--and kept enough of Wouk's dialog from the novel to give flashes of the book's insight and sophistication. All of the actors must have read the book, for they dig into their roles far deeper than the screenplay does. Not a great movie, but until someone makes a better one, it stands alone as Hollywood's most honest and endearing tribute to--The Nice Girl.

This is just one of those glossy '50s tearjerkers, with glamorous people, pretty Technicolor, and fab costumes. The best thing about it is Gene Kelly, who is absolutely handsome, charming, and sexy as a slimy rogue who leads the sweet, innocent Natalie Wood down a treacherous emotional path. The two stars have tremendous chemistry, in spite of the large age difference between them. Kelly proves that he is (was?) a marvelous dramatic actor, a side seldom seen in his career outside of this movie. He should have done more of it. Wood is more of a raw, unpolished talent at this point in her career, but her vulnerability and ability to bring real tears to a scene makes her performance tremendously affecting. She's also radiant and beautiful, showing off her Audrey Hepburn-like ingenuous charisma. This is not a perfect movie, but you will be engrossed and emotionally moved by it. Fine performances also by the supporting cast, including Martin Milner, Ed Wynn, Carolyn Jones, and just about everyone else. A fine popcorn romance.