Unveiled Movie Case Study

Grace Bennett 10/24/13 Audism Unveiled The first thing that I immediately felt right as the movie started was how quickly people were signing and it took me awhile to adjust to how fast the subtitles were on the screen. As mentioned later in the movie, it's a common occurrence for deaf people to have to experience the all too common “I'll tell you later”. Although I'm not quite sure if this was done on purpose or not in order to give hearing people a sense of what it feels like to not be 'on the same page' as everyone else, I certainly did feel the need to really pay attention and have to read quickly as the people signing on screen were signing just as quickly as someone who would be speaking. What caught my attention throughout the movie was how clearly deaf people are oppressed, even in today's society. It shocked me when they showed people of every nationality speaking on their behalf of how their families tried throughout their lives to “cure” them of their

It is not very often that the sequel to a successful film turns out to be even half as successful or rewarding as the original picture was. But we've got to hand it to Metro: its sequel to "Father of the Bride" is so close that we'll willingly concede it to the humor and charm of that former film.

"Father's Little Dividend" they call it, and, in case you can't even remotely guess, it tells of the trials of the bride's father when his darling daughter whelps her first child. Sounds slightly obvious, does it? Well, if becoming a grandpop is that, with all of the attendant upheaval in a happy American home, then it is. But the way it has been put together by the very same M-G-M team that visualized Edward Streeter's novel less than a year ago and the way it is played by all the principals from the original cast, headed by Spencer Tracy, make for grand diversion on the Music Hall's screen.

As you wish. There is nothing more obvious or inevitable, we suppose, than for normally healthy young people who get married to have children in time. And there is likewise nothing more routine than for the parents of these young married folk to find themselves running in circles when their prodigies do this marvelous thing. Becoming a nervous grand-parent is a rather conventional event.

Indeed, it is so conventional, particularly in those cozy walks of life where money and leisure for indulgence of one's children and emotions abound, that the consequent behavior of such people virtually fits into the pattern of a rite, just as their behavior is ritualistic when one of their daughters is wed. And it is this standard pattern of behavior which Albert Hackett and Frances Goodrich have observed and have recorded in as much hilarious detail as Mr. Streeter found in the ritual of the bride. Furthermore, they have packaged it neatly in an adroit and nimble script.

Under the sure-touch direction of Vincente Minnelli, Mr. Tracy is sitting down again to remember, in a mood of mild sarcasm, some of the things that have happened to him since last we saw him as the papa amid the debris of his daughter's wedding feast. And among the things that he remembers are the night that his daughter informed him, his wife and her husband's parents that she was going to have a child; the bristling contention among the in-laws as to a name for and monopoly of the child (all of this far in advance of the date on which it is to be born); the night that his daughter "left" her husband and came home dismally "to live"—and, of course, the alarms and excursions attendant upon the birth.

It is no particular reflection upon the writing or the acting of the film to observe that these prenatal upsets are more hilarious than anything past. For in them there is evident strain and tension which add a special fillip to the fun and make the eventual accouchment the natural climax of the film. The subsequent pique of Grandpop toward his initially unfriendly grandson and a plainly contrived dramatic crisis for the finish are on the way down.

But all the way through the picture Mr. Tracy does a wonderful job of displaying the agonized reactions of a father and a badly baffled man. In him is again superbly mirrored a real American type—slightly prettified and idealized, we'll grant you, but never sugared or overdone. And the same goes entirely for Joan Bennett as the charmingly eccentric wife, for Elizabeth Taylor as the expectant mother and for Billie Burke and Moroni Olsen as the other in-laws. Don Taylor does even better as the tormented husband of the girl, and in him one sees the definite glimmers of another distracted father twenty years hence.

The one incongruous note detected by this reviewer in the film is the curious indifference and obscurity of two resident 'teen-age sons. There is something suspiciously abnormal about the local self-effacement of these two boys. But that might only be noticed by a father of (thank goodness!) sons.

On the stage of the Music Hall is "Musicana," a spectacle-revue featuring Morley Meredith, Ann Kepic, Jane Laste, Jacques Cordon, Nino the Wonder Dog, Joseph Levinoff, Grace Thomas, Patricia Drylie and the Corps de Ballet, Glee Club and Rockettes.

FATHER'S LITTLE DIVIDEND, screen play by Albert Hackett and Frances Goodrich, based on the characters created by Edward Streeter; directed by Vincente Minnelli; produced by Pandro S. Berman for Metro-Goldwyn-Mayer. At the Music Hall.
Stanley Banks . . . . . Spencer Tracy
Ellie Banks . . . . . Joan Bennett
Kay Dunstan . . . . . Elizabeth Taylor
Buckley Dunstan . . . . . Don Taylor
Doris Dunstan . . . . . Billie Burke
Herbert Dunstan . . . . . Moroni Olsen
Police Sergeant . . . . . Richard Rober
Delilah . . . . . Marietta Canty
Tommy Banks . . . . . Rusty Tamblyn
Ben Banks . . . . . Tom Irish
Dr. Andrew Nordell . . . . . Hayden Rorke
Reverend Galsworthy . . . . . Paul Harvey

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