NEVER TOO LATE
US, 1965, 105 minutes, Colour.
Paul Ford, Connie Stevens, Maureen O'Sullivan, Jim Hutton, Jane Wyatt, Henry Jones, Lloyd Nolan.
Directed by Bud Yorkin.
An amusing, rather homespun, American comedy about small towns, families, and a middle-aged woman becoming pregnant. Some wry humour is drawn from the situation of the pregnancy as well as the reactions of family and people in the town. Maureen 01Sullivan, mother of Mia and Tisa Farrow, makes a rare screen appearance in her middle age and is quite attractive. The excellent comedian Paul Ford is the unlikely father. Direction is by Bud Yorkin who made such entertaining comedies as Come Blow Your Horn, Divorce, American Style. Pleasant entertainment with some interesting theme implications.
1. Was this a good comedy? Its particular qualities and characteristics? An example of American domestic comedy? The particular nature of its appeal?
2. The use of Panavision, colour and music, the background of the town, the firm, home? The authentic atmosphere?
3. How credible were the characters and the situations? How particularly contrived? The film was based on a play. Was this evident?
4. The focus on Harry Lambert? Paul Ford's comedy style? An example of the older generation and the older values? An American man with the pride of his traditions? How funny was he, while taking himself so seriously? His involvement in his work, the hardworking ethos and morality? His acceptance of age and increasing weight? His reliability? The contrast with his wife rushing around doing everything and his sitting back? His harshness with his daughter and her not working? His continual quarrelling with Charlie and leaning on him? His pride in his fitness as explained to the doctor? His feeling at home amongst his men at the mill? How selfish and self-focussed a person was he?
5. The contrast with Edith rushing around, looking frowsy, working for everyone and not thinking of herself? how attractive a character was Edith, her love for her husband and her daughter?
6. Susan as representing the younger generation? Her not working, her deciding to work and slaving for the family? The importance of her wanting a child? Her reliance on Charlie and hope for his potential? The effect of their wrangling on him and on her? Her quarrelling with him because of the pregnancy and the pressures she brought to bear? The effect of the truth on him? Their not living in their own home?
7. The contribution of the neighbours, the doctor and especially his wife as a friend of Edith? The personality of the mayor, his rivalry with Lampert, his humour, his contract for the stadium, his neighbourliness?
8. The focus on the pregnancy and the significance of the film's title? The effect on Edith from glumness to happiness? The change in her, her going out and buying things and being young again? Her hopes as a mother, her hopes for happiness in all the family? Her disappointment?
9. The reaction of Susan and Charlie, Susan's attempts to be pregnant? The tension, the visit to the doctor, the motel afternoon of their clash? The truths told? The ultimate effect of these and the bond together? A credible young couple?
10. Harry's reaction to the pregnancy and his selfishness? His self-consciousness at work, the reaction of the mayor, shopping with his dark glasses etc.? His not thinking of Edith or the child? The fantasy of his imaginings of his growing older as the child grew up? the humour, the wry nature of the humour?
11. The reaction of the two men when the women told them to go to hell? Their evading the issues in drink? Their clashing with the mayor and the crisis? The motivation?
12. Harry and his realization of the truth, his pursuit of Edith? The reconciliation in Boston? Hope for the future?
13. Susan and Charlie and their reconciliation? Charlie standing on his own feet, bargaining with the mayor, accepting responsibilities from his father-in-law?
14. The quality of the humour, the humanity of the film, audience possibly identifying, the wisdom? Some reviewers said the humour was cheap. Was it?
