Robert Benchley Movies

Born in Worcester, MA, on September 15, 1889, Robert Benchley became a journalist upon graduating from Harvard in 1912, soon joining the staff of the New York Tribune. After serving in World War I, he returned to New York to accept the position of managing editor at Vanity Fair magazine, later tenuring as a columnist for the New York World before being named the drama editor of Life in 1920. The following year, Benchley published his first book collection, Of All Things, and in 1922 performed an acclaimed monologue, "The Treasurer's Report," as a skit in an amateur revue. Throughout the decade of the 1920s, Benchley also earned notoriety as a charter member of the legendary Algonquin Round Table, a much-publicized group of New York City writers, actors, and artists -- also including Dorothy Parker, Alexander Woollcott, George S. Kaufman, Marc Connelly, and Harpo Marx -- who met for lunch daily at the Algonquin Hotel to share sparkling conversation, juicy gossip, and scathing insults.
Through his work in Life as well as books including 1925's Pluck and Luck and 1927's Early Worm, Benchley emerged as one of America's most popular and well-respected writers, acutely dissecting the comic futility of Roaring Twenties society. His subtle, whimsical humor primarily depicted the struggles of the common man, often spinning off on purely nonsensical tangents; Benchley's friend Donald Ogden Stewart (The Philadelphia Story) dubbed his sensibility "crazy humor," and it found an eager audience among pre-Depression readers. Benchley first began working in movies in 1928, reprising "The Treasurer's Report" in one of the earliest short films to feature sound; in all, he appeared in some 46 acclaimed short features, typically appearing as a lecturer to muse on subjects including The Sex Life of the Polyp (1928), The Courtship of a Newt (1938), and How to Take a Vacation (1941). In 1935, Benchley even won an Academy Award for How to Sleep. In 1929, he rose to new prominence as the drama critic at The New Yorker, a magazine founded by Algonquin lunchmate Harold Ross.
Beginning in 1932, Benchley began writing for feature films as well, making his debut with The Sport Parade, in which he also co-starred as a broadcaster. He continued to play any number of comedic supporting roles in the years to come, typically cast as a bumbling yet lovable sophisticate, a cocktail glass always firmly in hand. In 1940, he appeared in the Alfred Hitchcock thriller Foreign Correspondent; he also contributed dialogue to the script. Robert Benchley died on November 21, 1945, at the peak of his fame. Benchley's son, Nathanial, was a well-regarded novelist and children's books author while his grandson, Peter, later became a well-known novelist in his own right, authoring the book that inspired the film Jaws. ~ Jason Ankeny, All Movie Guide
1946  
 
Charmless films like The Bride Wore Boots helped to kill the postwar revival of the "screwball comedy" genre almost before it began. Here's the deal: Breeding-farm owner Sally (Barbara Stanwyck) loves horses. Novelist Jeff (Robert Cummings) hates horses, but loves Sally. Jeff and Sally marry, only to break up over their equestrian differences. They spend the rest of the film trying to get back together again, despite such hurdles as flirtatious Southern belle Mary Lou Medford (Diana Lynn) and charming "other man" Lance Gale (Patric Knowles). Is it any surprise that the film ends with a Big Race, and that horse-hating Jeff is astride the winning steed? ~ Hal Erickson, All Movie Guide

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Starring:
Barbara StanwyckRobert Cummings, (more)
1946  
 
Jed Potter (Fred Astaire) is a popular radio personality who was once a famous dancer. He also used to be friends with Johnny Adams (Bing Crosby) until they became rivals for the affections of Mary O'Hara (Joan Caulfield). Jed lost out when Johnny and Mary got married, but life hasn't been too rosy for the couple since; Johnny's career in business was a washout, and not long after the birth of their daughter, the couple decided to divorce. Mary gave Jed another chance with her, but in time she chose to patch things up with Johnny, leading Jed to a close partnership with alcohol that ended with an accident, preventing him from ever dancing again. However, the aftermath of this tragedy helps bring the three former friends back together. Blue Skies was not much more than a framework for a bunch of musical numbers featuring great tunes from the Irving Berlin catalog, but when you've got Bing singing and Fred dancing to songs like "Puttin' on the Ritz," "You Keep Coming Back Like a Song," "A Couple of Song and Dance Men," and "White Christmas," why carp? Noted stage actor and tap dancer Paul Draper was originally cast as Jed, but he was fired after several days of filming and replaced by Astaire; Draper would make only one more movie before his film career came to an end after he was branded a Communist sympathizer. ~ Mark Deming, All Movie Guide

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Starring:
Bing CrosbyFred Astaire, (more)
1946  
 
In this sequel to the 1944 teenage comedy Janie, Joan Leslie replaces Joyce Reynolds in the title role, playing the virtuous but amorous daughter of Edward Arnold and Ann Harding. Janie marries the soldier (Robert Hutton) she'd met in the earlier film, hoping to help him set the course of a successful civilian life. Robert Benchley (who'd died the year before this film was released) is a delight as the husband's dry-witted stepfather, doing his best to help the young couple in spite of themselves. Complications ensue when hubby's former girl friend (Dorothy Malone) shows up. Janie Gets Married ends with the old flame extinguished and Janie and her husband in each other's arms. ~ Hal Erickson, All Movie Guide

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Starring:
Joan LeslieRobert Hutton, (more)
1946  
 
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The first "Road" picture in three years (the last was The Road to Morocco), Road to Utopia is set during the Alaskan gold rush. Bob Hope and Bing Crosby play a pair of third-rate San Francisco entertainers, Chester Hooton and Duke Johnson, who are obliged to skip town in a hurry. They book passage on a ship to Alaska, where they run afoul of escaped murderers Sperry (Robert H. Barrat) and McGurk (Nestor Paiva). Through a fluke, Chester and Duke overpower the killers, then get off the ship in Skagway disguised as Sperry and McGurk so that they themselves can evade the authorities. The boys can't understand why everyone is so afraid of them, nor why saloon owner Ace Larson (Douglas Dumbrille) and Larson's moll Kate (Hillary Brooke) are so chummy. It turns out that Sperry and McGurk had stolen a deed to a valuable gold mine before escaping to Alaska. Sal Van Hoyden (Dorothy Lamour) is the rightful owner of that deed, thus she too shows up in Skagway, hoping to extract the document from Chester and Duke. Whenever the plot threatens to become too difficult to follow, narrator Robert Benchley shows up to explain things -- which of course only adds to the confusion. At any rate, the whole affair ends up with Chester, Duke, and Sal running through the snowy wastes, with the villains in hot pursuit. Duke nobly stays behind to fight off the bad guys himself, handing the deed to Chester and Sal and wishing them Godspeed. Flash-forward to 1945: Chester and Sal, both old and wealthy, are reunited with their equally aged pal Duke, who wasn't killed after all. Sal tells Duke that Chester has been a wonderful husband and father. Yes, father...and wait till you see who plays their child ("We adopted him!"). ~ Hal Erickson, All Movie Guide

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Starring:
Bing CrosbyBob Hope, (more)
1945  
 
Weekend at the Waldorf is an unabashed remake of MGM's 1932 Oscar-winner Grand Hotel: in fact, at several points in the story, the cast makes pointed references to the earlier film. The posh Waldorf Hotel in the heart of New York is the setting for several plots and subplots. Ginger Rogers plays the Garbo counterpart, a successful but severely depressed movie star who wants to be alone. Walter Pigeon steps into John Barrymore's role, sort of; whereas Barrymore was a thief posing as nobility, Pigeon is a war correspondent posing as a thief. Hotel stenographer Lana Turner (originally Joan Crawford) latches onto tycoon Edward Arnold (originally Wallace Beery) in hopes of a life of luxury. And, in the film's biggest adaptation stretch, Van Johnson is cast as a war hero who, about to undergo life-threatening surgery, wants to thoroughly enjoy what may be his last days on earth. It takes a while to figure this out, but Johnson is supposed to be the character played in Grand Hotel by Lionel Barrymore: the meek clerk who, upon discovering that he's dying, blows his life savings on one last fling. On the whole, Weekend at the Waldorf is a lot more light-hearted than Grand Hotel, as indicated by the expository character played by humorist Robert Benchley, not to mention the presence of Xavier Cugat as the Waldorf's orchestra leader. ~ Hal Erickson, All Movie Guide

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Starring:
Ginger RogersLana Turner, (more)
1945  
 
If there were any doubts that little Shirley Temple was all grown up by 1945, those doubts were disippated by her appearance in Columbia's Kiss and Tell. Based on the mildly risque stage comedy by F. Hugh Herbert, the film casts Temple as impulsive teenager Corliss Archer, who is the only person in on the secret marriage between her GI brother and local girl Mildred Pringle (Virginia Welles). When Mildred becomes pregnant, Corliss can't reveal the marriage, since the Archers and the Pringles aren't overly fond of one another. Thus it is that Corliss herself pretends to be expecting, intending to claim Mildred's baby as her own. She further identifies her next-door boyfriend Dexter Franklin (Jerome Courtland) as the father, opening yet another can of worms. Somehow this mess straightens itself out, but not before several "chancy" scenes and lines of dialogue that must have given the Hollywood censors headaches aplenty. Kiss and Tell (the original play, that is) not only spawned a 1949 movie sequel, A Kiss for Corliss, but also inspired the popular radio and TV sitcom Meet Corliss Archer. ~ Hal Erickson, All Movie Guide

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Starring:
Shirley TempleJerome Courtland, (more)
1945  
 
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The Stork Club, the famed New York nightspot immortalized by columnist Walter Winchell (in return for special favors from its owners), is the setting for this typically brash Betty Hutton musical. Hutton plays a young hat check girl who rescues an elderly tramp (Barry Fitzgerald) from drowning. The old bum turns out to be a millionaire, and expresses his gratitude by setting up Hutton in luxury--asking for nothing in return. Hutton's boyfriend Don DeFore suspects hanky panky, but all is forgiven during the obligatory floor show. There are rumors that the Stork Club itself financed The Stork Club as a feature-length commercial. Whatever the case, ownership of the film was cloudy enough to allow it to slip into the public domain in 1982, which explains why Stork Club seems to be running 24 hours a day on cable TV. ~ Hal Erickson, All Movie Guide

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Starring:
Betty HuttonBarry Fitzgerald, (more)
1945  
 
A journalist for a popular travel magazine goes looking for interesting stories in Latin America and finds love instead in this colorful musical. The love angle comes from her fiance who lives there, and from the dashing photographer who accompanies her. Included are many South American acts including flamenco dancers Rosario and Antonio. Songs include: "Ba-Ba-Lu" (Bob Russell, Marguerita Lecuna), "Stars in Your Eyes", "La Morine de Mi Copla" (Gabriel Ruiz, Mort Greene), "Rhumba Matumba" (Bobby Collazo, Greene), "Guadalajara" (Pepe Guizar, Greene), "Negra Leona" (A. Fernandez, Greene), and "Baramba" (Margarita Lecuona, Greene). ~ Sandra Brennan, All Movie Guide

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Starring:
Phillip TerryAudrey Long, (more)
1945  
 
Based on the popular Russian novel The Twelve Chairs, this stars Fred Allen as flea-circus impresario Fred Floogle. Learning that he's inherited $12 million from his uncle, Fred also discovers that the money has been stuffed in one of thirteen chairs that he's sold at auction. The rest of the film goes off on any number of hilarious tangents, each tied-in ever so tenuously to the plot. Included is an episode at the movies (Fred and his wife Binnie Barnes are continually escorted up several balcony steps and out several alleyway doors), a visit to Floogle's radio cohort Mrs. Nussbaum (Minerva Pious), a brief misadventure with Jack Benny (this time Benny has a hat-check girl in his hall closet, so that he can collect tips from visitors), an impromptu barbershop quartet session with Fred, Rudy Vallee, Don Ameche and Victor Moore, and a confrontation with the dreaded William Bendix mob (Bendix isn't really a gangster; he simply inherited the mob from his mother). Also weaving in and out of the proceedings are John Carradine as a crooked attorney, Robert Benchley as Fred's pompous in-law-to-be, Sidney Toler as a popcorn-munching detective, and Jerry Colonna as Fred's live-in psychiatrist. Two versions of this film exists, one without Fred Allen's ongoing voice over narration. ~ Hal Erickson, All Movie Guide

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Starring:
Fred AllenJack Benny, (more)
1945  
 
Several of Paramount Pictures brightest stars make cameo appearances in this comedy set in "Duffy's Tavern," a favorite watering hole from old time radio shows. The trouble begins when the neighborhood bar is in danger of closing. The trouble begins when the proprietor, Archie, discovers that one of his regulars, Michael O'Malley, owner of a record company is going broke. This means that many veterans will soon be unemployed and therefore, unable to pay their tab at the tavern. Archie immediately begins recruiting famous stars to donate their services and help. They do, the record company is saved and so is the tavern. ~ Sandra Brennan, All Movie Guide

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Starring:
Bing CrosbyBetty Hutton, (more)
1945  
 
There were some theatres in 1946 that refused to display the anagramatic title of this film on their marquees: it was, after all, no secret that the letters S.N.A.F.U. did not precisely stand for "Situation Normal, All Fouled Up" as the studio insisted. Based on a stage play by Louis Solomon and Harold Buchman, Snafu details the misadventures of Ronald Stevens, a teenaged boy who is honorably discharged from the Army when it is revealed that he was too young to enlist. By the time he returns home, Ronald has become so acclimated to the military that he can't readjust to civilian life. In his final film appearance, Robert Benchley does a nice, subtle job as Ronald's flustered father, but Vera Vague (aka Barbara Jo Allen) seems to be having trouble with the role of the the mother. And yes, that is the same Conrad Janis who later played Pam Dawber's dad on TV's Mork and Mindy. ~ Hal Erickson, All Movie Guide

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Starring:
Conrad JanisRobert Benchley, (more)
1944  
 
This film gives a fictionalized version of how the popular real-life radio program of the title began. A promoter has an idea for a show devoted to various country musicians, and an ad agency owner is interested. The promoter goes down South, finds some talented acts, and brings them back to Chicago, but the owner has changed his mind. The musicians pose as the owner's servants and wow him with a show to end all shows, and "National Barn Dance" is born. ~ Steve Huey, All Movie Guide

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Starring:
Jean HeatherCharles Quigley, (more)
1944  
 
Newspaper reporter Marion Hargrove's best-selling novel was adapted to the screen by MGM as a vehicle for Robert Walker. The story is basically a series of humorous anecdotes about Hargrove's tenure at boot camp in the early days of World War II. Keenan Wynn is terrific as Hargrove's topkick, and Robert Benchley is no less superb as the father of Hargrove's girl friend (Donna Reed). See Here, Private Hargrove not only secured the stardom of Robert Walker, but launched Marion Hargrove on a lengthy career as a Hollywood screenwriter (his son, Dean Hargrove, has carried on the tradition into TV). The film was followed by a lesser 1946 sequel, What Next, Corporal Hargrove?, which followed the leading character to France. ~ Hal Erickson, All Movie Guide

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Starring:
Robert WalkerDonna Reed, (more)
1944  
 
In this crazy comedy, a casino worker writes a book about headhunters and finds himself the target of the leader of an anthropological society who is determined to prove that the book is phony. The writer tricks the woman into going on a head-hunting expedition to prove his claims. He dresses up as a headhunter, and allows her to capture and return him to her society for study. Dressed as a native, the writer also manages to secure a $10,000 advance from his publisher to write an expose of the wealthy society-leader's life. Meanwhile, another heiress pursues the writer to collect on a $10,000 debt. ~ Sandra Brennan, All Movie Guide

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Starring:
Louise AllbrittonRobert Paige, (more)
1944  
 
The popular screen team of Claudette Colbert and Fred MacMurray stars in this wartime farce. MacMurray is an army pilot who develops engine trouble during a vital mission. Thinking he's about to die, MacMurray radios back his undying affection for his dog "Piggy." But the radio reception is fuzzy, and it is assumed that he has said "Peggy"--which happens to be the character name of Colbert, who intercepts the message. MacMurray survives the plane crash, whereupon he is whisked back home into the arms of Peggy, which is not to the liking of Peggy's gormless fiance (Gil Lamb). Practically Yours was guaranteed to make money, which it did. Its humor not meant to survive the ages, which it hasn't. ~ Hal Erickson, All Movie Guide

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Starring:
Claudette ColbertFred MacMurray, (more)
1944  
 
Janie, adapted from the Broadway play by Josephine Bentham and Herschel Williams, was one of a 1940s cycle of stage-to-film comedies about teenagers. Joyce Reynolds stars as Janie, a typical teen whose life is turned topsy turvy by the installation of a military base near her home town. Edward Arnold and Ann Harding, exasperated and understanding respectively, play Janie's parents. Robert Hutton is the soldier and Richard Erdman the hometown boy who vie for Janie's attentions. The film is cloying at times, but survives as a reasonably accurate representation of teenage life in the war years, right down to the "coded slang" used to throw parents off the track. Janie ends with the Army marching out and the Marines marching in, leaving the door wide open for a sequel, which appeared in 1946 under the title Janie Gets Married. ~ Hal Erickson, All Movie Guide

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Starring:
Robert HuttonEdward Arnold, (more)
1943  
 
After a four-year absence, Fred Astaire returns to RKO Radio for the Ginger Rogers-less The Sky's the Limit. Astaire plays a war hero who wants to spend a quiet furlough in New York. Since the city is poised to give Astaire a ticker-tape welcome, he sneaks into town incognito. He meets photojournalist Joan Leslie, who assumes that Astaire is a slacker and a coward because of his apparent unwillingness to contribute to the war effort. Just as in the earlier Astaire-Rogers vehicles, all misunderstandings are swept away at the end. Robert Benchley shows up to deliver a variation on his old "Treasurer's Report" monologue, while Clarence Kolb, Eric Blore, Neil Hamilton and Peter Lawford make uncredited appearances. Entertaining though the Astaire-Leslie duets may be in The Sky's the Limit, Astaire wraps this one up with his solo One for My Baby and One for the Road. ~ Hal Erickson, All Movie Guide

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Starring:
Fred AstaireJoan Leslie, (more)
1943  
 
In the tradition of his earlier Carnival in Flanders and Tales of Manhattan, director Julien Duvivier's Flesh and Fantasy is a "pormanteau" film, consisting of several short stories. Linking the three tales unfolded herein are clubmen Doakes (Robert Benchley) and Davis (David Hoffman), who carry on a spirited debate about Destiny. In the first story, homely Henrietta (Betty Field) is made beautiful through the love of handsome Mardi Gras reveller Michael (Robert Cummings)-and the help of an enigmatic mask-maker (Edgar Barrier). The second story, based on Oscar Wilde's "Lord Arthur Saville's Crime", concerns a fortune teller named Septimus Podgers (Thomas Mitchell) who predicts that socialite Marshall Tyler (Edward G. Robinson) will commit a murder. In the final tale, psychic high wire artist Paul Gaspar (Charles Boyer) dreams that he will meet his doom during the performance of his act-and then falls in love with Joan Stanley (Barbara Stanwyck), who looks exactly like the girl who appeared in that dream. A fourth story, detailing the doomed romance between a fugitive from justice (Alan Curtis) and a blind girl (Gloria Jean), was cut from Flesh and Fantasy, then expanded and released separately as Destiny (1944). ~ Hal Erickson, All Movie Guide

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Starring:
Edward G. RobinsonCharles Boyer, (more)
1943  
 
One can only imagine the reaction of arch-conservative MGM head Louis B. Mayer when Song of Russia first tumbled over the spools in the studio projection room. It must be remembered, however, that back in 1944 it was politically expedient for Hollywood to offer hosannas to America's Russian allies, and to gloss over the less-attractive aspects of the Stalin regime. Based on Scorched Earth, a story by Leo Mittler, the film stars Robert Taylor as John Meredith, a famous American symphony conductor who is touring Russia just before the war. Meredith falls in love with Russian lass Nadya Stepanova (Susan Peters), who impresses him with her conviviality and charm: why, she's almost like a typical American girl! In the course of their romance, Meredith and Nadya visit a collective farm, where the peasants sing, dance and smile all day. The lovers marry, only to have their honeymoon abruptly halted when the Nazis invade the Soviet Union. Nadya promptly joins the Resistance, solemnly assembling molotov cocktails and shooting down Germans with her comrades. Just before the Nazis swarm into Nadya's village, the peasants set fire to the place so that Hitlers minions will not be able to plunder its resources. All of this is played out against the music of Tschiakovsky and other Russian composers. During the HUAC investigations in the early 1950s, several of the personnel involved in Song of Russia were required to explain why they'd been involved in so blatantly "pro-communist" a project. Louis B. Mayer blithely explained that he "just wanted to make a picture about Russians, not communists," while star Robert Taylor -- likewise a staunch anti-Red -- insisted that he'd been forced to make the film, and that he'd demanded script deletions throughout productions. In the end, the losers were screenwriters Richard Collins and Paul Jarrico, both of whom ended up on the egregious Hollywood Blacklist, simply for adhering to America's wartime pro-Soviet sentiments. ~ Hal Erickson, All Movie Guide

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Starring:
Robert TaylorSusan Peters, (more)
1942  
 
Take a Letter, Darling is from the "boss lady" school of 1940s comedies. Fred MacMurray is Darling (that's his last name), an unsuccessful artist who advertises for a position as male secretary. He is hired by female advertising executive Rosalind Russell, who is all business--during business hours. MacMurray learns that his job description includes escorting Ms. Russell and her clients to social gatherings. This goes on and on until Rosalind begins softening her steely exterior and MacMurray asserts his male prerogative (this of course was 1942, when gender stereotypes weren't subject to the ACLU). The film's best moments belong to Robert Benchley as Russell's ad agency partner, who'd rather play cards than tend to business. Though Rosalind Russell seems to be typecast in Take a Letter, Darling she was actually second choice for her role; it had been slated for Claudette Colbert, but Colbert became unavailable when she took over for the recently deceased Carole Lombard in The Palm Beach Story (42). ~ Hal Erickson, All Movie Guide

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Starring:
Rosalind RussellFred MacMurray, (more)
1942  
 
As she burns at the stake, a 17th century witch, Jennifer (Veronica Lake), places a curse on her accuser (Fredric March), so that from this day forward, all of his descendants (each played by him) will be unhappy in marriage. After several hilarious through-the-years examples (the Civil War-era Fredric March runs off to battle rather than endure his wife's nagging), we are brought up to 1942. Wallace Wooley (March) is a gubernatorial candidate, preparing to wed snooty socialite Estelle Masterson (Susan Hayward) -- the well-to-do daughter of a publisher who is backing him. A bolt of lightning strikes the tree where Jennifer had been executed three centuries earlier, thereby freeing the spirits of Jennifer and her warlock father, Daniel (Cecil Kellaway). Wallace meets Jennifer when she materializes in a burning building, obliging him to save her life. The revivified sorceress does everything in her power to induce Wallace to fall in love with her -- even destroying the ceremony in which the wedding is supposed to take place. The attempts succeed, and the two marry, but on their wedding night, Wallace refuses to believe Jennifer's claims that she is a witch. Frustrated, she attempts to convince him by doctoring the gubernatorial election -- in his favor. Based on the Thorne Smith novel The Passionate Witch, the rollicking I Married a Witch can be considered the forerunner of the TV series Bewitched, but only on a surface level. The film had been scheduled to be directed by Preston Sturges and to be released by its producing studio, Paramount; the end result was helmed by René Clair (his second Hollywood film), and was distributed by United Artists. ~ Hal Erickson, All Movie Guide

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Starring:
Fredric MarchVeronica Lake, (more)
1942  
 
Add The Major and the Minor to QueueAdd The Major and the Minor to top of Queue
A woman's attempt to disguise herself as an underage girl mushrooms into a series of humorous deceptions in this romantic comedy. Ginger Rogers stars as Susan Applegate, a young woman living in New York who, nearly broke and sick of the city, decides to head home to Iowa. Lacking the money for a regular ticket, she pretends to be an unusually tall 11-year old girl named Sue-Sue in order to pay half-price. The train conductors catch on to her scheme, however, forcing her to take refuge in the car of Major Philip Kirby (Ray Milland). The kindly major virtually adopts the "lost little girl," and circumstances force Susan to play along and accompany him to the local military academy. There the fun begins, as she struggles to deal with the unwelcome romantic attentions of countless young cadets and her own increasing attraction to the engaged Major Kirby. The Major and the Minor was the first Hollywood feature helmed by the legendary Billy Wilder. ~ Judd Blaise, All Movie Guide

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Starring:
Ginger RogersRay Milland, (more)
1942  
 
Out of the Frying Pan, Francis Swann's perennial community-theatre favorite, came to the screen under the title Young and Willing. It's the unrealistic but funny account of young, aspiring actors combining their resources in hopes of keeping the wolf from the door. The girls and three boys move into the same apartment-a definite no-no in 1943-hoping to keep the landlady (Mabel Paige) in the dark until they can break into the Big Time. When famed Broadway producer Arthur Kenny (Robert Benchley) moves into the apartment below theirs, our heroes and heroines work overtime to curry Kenny's favor. The male leads are played by William Holden, Eddie Bracken and James Brown, with Bracken coming off as the most entertaining of the three: the girls are portrayed by Susan Hayward, Martha O'Driscoll and Barbara Britton, all on the verge of bigger and better things. Young and Willing was one of a group of Paramount films sold outright to United Artists in 1942-43. ~ Hal Erickson, All Movie Guide

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Starring:
William HoldenEddie Bracken, (more)

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