Rebelde ternura

This film is a cut above most 50s teenage movies which deal with music and fun times like "Rock, Rock, Rock" and others. Then there are the ones dealing with a serious plot with little teenage fun times shown. Unlike these, "Teenage Rebel" has the best of both in one film. The kids have loads of fun here. They clown at the malt shop, go to a drag race and enjoy a real fun party with plenty of music and dancing. Yet, at the same time, a serious drama is going on where a resentful girl learns a valuable lesson about the value of her mothers unconditional love for her. This is very intense drama combined with the fun.

From a fairly successful Broadway drama, TEENAGE REBEL has been given, as everyone agrees, an absolutely terrible title. Our teenager, Betty Lou Keim, is not particularly rebellious, only suffering from the emotional baggage of her parents' divorce. As the story goes, her mother (Ginger Rogers) had left her father for another man (Michael Rennie) some eight years previously. Apparently embittered, the father had kept Keim completely away from Rogers by living with his daughter in Europe all that time, but he had now returned to the States to remarry and wanted some privacy for his honeymoon, thus had finally shipped the girl back to Rogers. Daughter Keim remains in the dark about all of this and is angry with her mother for leaving her when she was seven, for never seeing her since (not the mother's fault), and other than general feelings of abandonment is also suffering the pangs of loneliness, having lived too peripatetic a life in Europe to establish any roots there. The movie is mostly about Keim and Rogers breaking through these emotional barriers to re-establish a loving relationship.

In a relatively small role, Rennie was good as the understanding husband, Ginger for the most part was fine as the loving mother, but I found Keim too declamatory for film acting, not entirely her fault as the dialogue seemed clumsy from time to time (Ginger also fell into this declamatory trap occasionally). Keim had originated the role on stage where such acting is far more effective.

All in all, TEENAGE REBEL is an average to slightly above average movie.

And I must take special note of Ginger Rogers' physical appearance, positively stunning for a woman of 45. I don't believe that she'd looked that good in nearly a decade. It's a pity that her great film career was practically at its end.

First of all, as has been pointed out, the title is God-awful, something from some of the sleazy '50s Z movies. Jeez, who dreamed that up? Was it a ploy to entice those who enjoy tastelessness?

This movie is sweet, funny, loaded with warmth. The story of a sort-of disconnected teenager is excellent. She is a child of divorce who bounces from un-warm dada to momma Ginger Rogers. (Remember when she was 15 in "The Major and the Minor"?) Michael Rennie is an odd choice for her husband, but he is excellent in the part. He even gets to dance with Ginger - tha "ka-tu boogie" I think).

The scene stealer is Betty Keim as the teen who has to be angry, loving, warm, confused. It was her first flick and she did quite a lot of work after that - and she deserved it.

Warren Berlinger was also introduced in this movie and, as another critic pointed out, they eventually became husband and wife. How fuzzy puppy can you get?

The movie is an unusual entry for 20th Century Fox. They spent no money on technicolor but, no matter, it worked beautifully in black and white.

It shows the difference between the more carefree teeners of the '50s as opposed to today's young people.

I recommend this movie and it is one I will enjoy seeing again. The way FMC operates, there is a good chance of a repeat presentation - or three.

This is a very good film about family problems. However, too often I wanted to yell at my TV telling the mother (Ginger Rogers) how to handle her nasty daughter, Dodie! This isn't so much a complaint but shows that I was involved with this film.

When the movie begins, you learn that Nancy Fallon (Rogers) was divorced eight years ago. It seemed that she wanted out of this loveless marriage and her rich ex-husband took their 7 year-old to Europe to prevent them seeing each other. Now, unexpectedly, they get word that this 15 year-old is coming for a visit...which is strange considering the father's actions.

When Dodie (Betty Lou Keim) arrives, she's cold and haughty---which isn't a bit surprise considering that her father has been filling her mind with hatred towards her mother. But the daughter's nastiness extends to EVERYONE--her step-brother, her step-father and even the neighbors. The situation seems intolerable...but they are stuck with each other. It seems that Dodie's father has dumped her on the ex- because he's getting remarried and wants time alone with his new wife! How is this mess ever going to get worked out successfully?!

The film has a very interesting plot and you feel for the mother and everyone else around her. My only complaint is the step-brother-- what an annoying little brat! Well worth seeing and engaging.

By the way, the IMDb trivia for this one is really, really interesting. It seems that Dodie was in love with Dick in the film...and a few years later, these same actors actually married, raised a family and were apparently very happy together. That's sweet.

Most teenage films from the 50's and 60's portray the children as much more innocent than they actually were; and, usually the boy is more mature than the girl, which we always knew was the opposite. Yes, Dick is the most mature, but Dorothy (Dodie) is right up there with him, which is why they click. Ginger is very svelte in the film, yet older than when she danced with Fred Astaire in the 40's. Ginger, as well as the rest of the cast, is excellent and the script is not your usual Hollywood teenage oriented tripe. I assume the Fallon's lived in L.A. and I know from experience that kids were faster than portrayed. I grew up in the Great Lakes area and we were even more mature than the kids in southern Cal; girls in 1956 started having sex with older boys (18, 19) because they had cars and those 'farmers daughters' were hot to trot. Whatever the case may be, this film, despite such extreme parental interference, was the best Hollywood could do in the late 50's. Notice that the Fallon's (Ginger & Michael) beds were not separated by a nightstand, but rather side by side. I guess the censors were becoming more realistic.