Hard, Fast and Beautiful!

This movie turns its characters' souls inside-out, but never deviates from its pacing or its sports theme. Interesting performances punctuate an early 50's version of a woman trying to find her own way by eschew popular convention. The studio ending forced upon Lupino blunts some of the intended effect.

"Hard, Fast, and Beautiful" from 1951 sounds like one of those racy '50s films that has a luridly colored poster, some babe in a strapless dress being attacked by lecherous man. It is instead a film about a tennis player and her mother - go figure.

This is a small film directed by Ida Lupino. Sally Forrest plays Florence Farley, a young tennis player who shows real talent, so much so that the local country club gives her a membership and then offers to sponsor her in a competition.

Claire Trevor plays her ambitious mother, Millie, a disappointed woman who feels that her husband never amounted to anything. Now she has focused all of her attention on her daughter and plans on hitching her wagon to Florence's star.

Florence is eventually discovered by a promoter, Fletcher Locke (Carleton Young) who believes that with the right training on her backhand, she can go all the way. He also is very good at getting around Florence's amateur status and getting money for her.

All this is fine with Millie. Then Florence and her boyfriend decide to get married, and he wants her to quit tennis.

I love Claire Trevor, and it's a shame to see a talent such as hers in what is essentially a B movie. The film has a few problems, one of which is, seen today, it's badly dated.

A young woman who has devoted hours upon hours of work and wins the U. S. Open, and her fiancé tells her to quit, not bother with a European tour, and she's going to?

I understand it was a different time, and women often married and stopped pursuing careers. Nothing wrong with that, but in this case, with a professional career just beginning, it seems odd.

The best parts of the film are the scenes with Flo's father (Kenneth Patterson) who is a gentle man, very proud of his daughter, hurt by his wife, and who just wants Florence's happiness.

All in all, not a very convincing film, with an excellent performance by Trevor, and uneven acting by Forrest and her not very likable boyfriend (Gordon McKay).

Hard, Fast and Beautiful (1951)

You might not think a tennis movie--that is, a movie about a young girl making her way up the tennis ladder to the championships--would go very far. And this is the main focus for the first half of it. But in the background some relationships are developing, and here is the real meat of this B-movie, with its slightly suggestive title.

At the core is a fairly new kind of stereotypical family, the kind broadened in 1950s television from the Donna Reed Show to My Three Sons to the Brady Bunch--a suburban utopia. Husband and wife in this case are politely happy, and the wife, played brilliantly by Claire Trevor, in particular is secretly frustrated. When her daughter begins her rise in the tennis world, and falls in love with the local pretty boy (a nice guy, too), she starts to be jealous, or at least to see what she's been missing in her own life. And then the power man comes along, a mover and shaker in the tennis world who see the daughter's talent and also the mother's hunger and charm.

It can only get interesting from there, and it does.

The tennis scenes are not terrible, but there are too many of them, I think, and we don't totally care who wins the matches. But again, this is backdrop, and as the ball is hit hard and fast, we see the subplots brood and get interesting, within the limits of the code still holding sway for another decade.

This is an Ida Lupino movie. You might not think it matters that a woman directed a fairly formula kind of film, but there are slight tilts to the attitudes that seem only possible by having a woman (and a woman like Lupino) in charge. And the characters who really rise to the most complexity are women, the daughter to some extent limited by her role as a young and naive whiz, but the mother, for sure. Between Trevor and Lupino we have an interaction that comes alive on screen.

Mom is very manipulative but film seems to say a woman's place is being married at home--yet the film was directed by Ida Lupino! Husband is a chauvinist I generally enjoyed "Hard, Fast and Beautiful". Its message about success and a 'stage mother' is timeless. However, it also gives an odd message about women and domesticity that really made no sense--but more about that later.

Sally Forest plays Florence Farley--a young lady who is incredibly gifted at tennis. However, her mother Millie (Claire Trevor) is bent on making her daughter a REAL success. Now this isn't just because she wanted to see the girl succeed but also because the mother loved all the perks that go with it--travel, nice clothes and attention. And, her husband really wasn't important to these plans....just Millie. Now I really liked this, as it seemed like a great indictment of the concept of the stage mother--those insane parents who wan to live vicariously through their famous kids.

There is a serious problem, however. At one point in the film, Sally's boyfriend becomes her fiancé--and he insists that she give up tennis and be the dutiful housewife. Now considering that she just won the US tennis championship and was about to go pro, this seemed just as selfish as Millie. He did NOT ask Florence what she wanted either. BUT, the film showed this as a GOOD thing--like Florence was a fool for not doing 'her master's bidding'--a typically sexist 1950s attitude. Think about it--she was poised at becoming world champion but he really only would accept her if she gave this up!! Now this is VERY hypocritical when you think about it, as the film was made by a woman and stars women! Ida Lupino directed this film--the same actress/director that blew through three famous actor husbands!! So, with this message of domesticity running through the movie, it all seemed like bull and really, really diluted the message.

I would have LOVED the film if it portrayed BOTH the mother and fiancé as selfish and had Florence at least once talk about what she wanted. Instead, the message seems to tell women watching the movie that the ONLY way to success is to completely lose yourself and your dreams to your husband's! It's focus on the manipulative mother and her quest for glory was great--the rest of it really seemed sexist--even for the 1950s. For a better but silly version of this sort of film, try watching "Pat and Mike".

Claire Trevor stars and owns this movie about a woman who decides that the best way to get the good things in life is through her daughter's skill with a tennis racket. Sally Forrest is the daughter who if she had her own way would settle down with Robert Clarke the boy next door and play tennis for fun. Stan Musial had a great philosophy in that he knew it was time to quit when he no longer had fun just playing the game. Too many don't feel that way.

And too many live vicariously through their children. The best portrayal of that phenomenon was Jo Van Fleet in I'll Cry Tomorrow. But Lillian Roth's stage mother had nothing on Trevor as she guides and manipulates Forrest and her career.

Hard, Fast And Beautiful also joins the ranks of films that takes a solid look at our peculiar view of amateur and professional sports and the problems that causes.

The scene when Trevor and Forrest finally level with each other is a classic. So is the deathbed scene with them and her beloved but weak father Kenneth Patterson. Look for Carleton G. Young as well as the tennis coach also hoping to live off the Forrest gravy train.

Most of all this is for fans of Claire Trevor.