The Model and the Marriage Broker

I love Thelma Ritter and I was thrilled to finally see her in a film where she was the main character. I am so used to her being a rough but sympathetic character in a film noir or Doris Day's anything but sober housekeeper...this was a wonderful revelation. Thelma Ritter's character Mae Swasey is a sympathetic if not melancholic individual who helps the lovelorn find a love connection for a small $500 commission. She meets the lovely clothing model Kitty Bennett, played by Jeanne Crain (who gets top billing in this film), by accident and takes it upon herself to speak up about a letter she reads when their purses are accidentally swapped.

"When people want to alibi their bad manners, I notice they always bring up their age."-Kitty

You see Kitty is on the cusp of potentially breaking up a marriage. Mae feels strongly enough to speak up and try and give Kitty some hard earned advice...and even goes out in the pouring rain to get rid of the married man to give Kitty extra time to think it over.

"This way you haven't got another woman's unhappiness on your conscience."-Mae

This is a wonderful George Cukor classic that I highly recommend. It deals with human nature, the need for a connection and not facing some of the challenges or realities of that basic human need. Jeanne Crain Is beautiful and may have received top billing...but this film is all about Thelma Ritter's character Mae. You can definitely say that she steals this show. I loved the character of Doberman played by Michael O'Shea and I was really pleased that he could provide a much needed happy ending for one of our characters. I enjoyed the twist provided where you think that Mae has been in Kitty's shoes...which is cleared up when an Emmy Swasey appears. It was fun to see some different professions optometry, x-ray tech, matchmaker, secretary, clothing model, etc. And I really appreciated some of the different sets used from a wedding venue, to an office building, to a bowling alley, to a private residence...it gave the film some added depth. Some of the smaller interactions like those between Mae and the office secretary were some of my favorite scenes...especially since they tie back in to the story.

This is on my recommendation list. I think if you enjoy classic films this is a rather nice (if melancholy) look at a basic human need and if you are a romantic you might also appreciate this film. For sure it is a must see for both Thelma Ritter and George Cukor fans.

The Model and the Marriage Broker was one of those delightful light comedies that Twentieth Century Fox (and Columbia) did so well in the early '50s. It was released here in Australia as a supporting feature. I saw it then and it's never been seen here since then, sadly, so I'm relying on memory. It's hard to imagine anyone else but Thelma Ritter as the matchmaker, Jeanne Crain was gorgeous and suitably aloof as the model, and Scott Brady was just right as the wolf. George Cukor's direction was flawless: handling sensitive issues without becoming mawkish or cruel, and totally un-self-conscious. It ranks equally with his 'The Marrying Kind' and slightly above his 'It Should Happen to You' (aka 'A Name For Herself'), both made with Judy Holliday at Columbia about the same time. I still remember the classic line delivered by Thelma (as only she could) when she tries to persuade a sad-sack male client to take an interest in the plain-Jane character played by Nancy Kulp: "She's a real live-wire - low voltage, but steady."

Thelma Ritter, in a rare leading role, is marriage broker Mae Swasey in New York City. The first scene is in her office with a gentleman (Frank Fontaine as a price fixated Swede) and a lady (Nancy Kulp as an overly tall tongue tied 40 year old who is getting on her sister-in-law's last nerve), in separate dilemmas of singlehood being counseled by Mae (Ritter) on how to match up with one of her other clients. I'll tell you this much - no they do not end up together. This scene tells you all you really need to know about Mae to understand most of what goes on during the rest of the film.

But there are questions. For example - How did she get into this business? If she thinks marriage is so important why is she not married? Why does she take such an interest in a random model (Jeanne Craine as Kitty) she has just met, as far as really trying to make sure she doesn't continue going with a married man who intends to break up his home to marry her? They are strangers after all. And who is this older woman whom Mae keeps trying to avoid?

Well, this is not a noir. Instead it is a very sweet romantic comedy about some very lonely homely people, and some that are not so plain but need a little push to overcome some preconceived notions. Thelma Ritter is something you don't see much of in modern films. She was 47 in her first credited film role, but you couldn't help but love her to death with her earthy wit and one liners.

How have things changed? In 1951 people still expected to meet a significant other in person or through friends. It was considered a bit of a scandal to have to pay somebody to find someone for you. Today matters are reversed. Everyone is expected to use dating apps, and don't you dare say something to somebody on the street. They could be wanted by the FBI!. Another minor matter was that TVs were so new people would become hypnotized by the tiny screens. Also, refrigerators were not so tall you needed to live in a cathedral to make one fit.

I'd just recommend this one, particularly since Valentine's day is coming up. It is a romantic feel good film that is not exactly packed with pretty faces. The casting call must have been interesting.

Middle-aged match-maker Thelma Ritter (as Mae Swasey) runs a bustling business in New York City, although many of her clients are not the most desirable marriage partners. Spinster-like Nancy Kulp (as Hazel Gingras) - who remained single throughout her run on the 1960s sitcom "The Beverly Hillbillies" - is an especially tough sell. Hoping to fix her up with optometrist Zero Mostel (as George Wixted), Ms. Ritter arranges a party for her prospects. While making the rounds, Ritter mistakenly swaps purses with beautiful model Jeanne Crain (as Christina "Kitty" Bennett). Ritter discovers the model is dating a married man and advises Crain to break up the affair. Feeling motherly, Ritter wants to match Crain up with handsome X-ray technician Scott Brady (as Matt Hornbeck)...

By 1951, character actress Thelma Ritter had become enough of a star to draw audiences on her own. Debuting at age 45 in 1947, the mature actress was named top female new star of the year 1951 by "Quigley Publications" - the organization which continues to rank box office stars every year. Ritter never did become a constant leading woman, but her name in a cast was always enough to indicate a film was high quality. Here, she may not receive top billing, but she certainly is the leading player. The story seems tailor-made for Ritter, by writer-producer Charles Brackett and director George Cukor. It's not their best effort, but Ritter gets good personnel - and shows she can carry the picture. Since she always lent stars great support, it's nice to see Ritter get a good supporting cast.

****** The Model and the Marriage Broker (12/30/51) George Cukor ~ Thelma Ritter, Jeanne Crain, Scott Brady, Zero Mostel

The movie's a showcase for Ritter's brand of cranky charm. She's a marriage broker, pairing up lonely people, and dispensing step-motherly advice. There's a parade of familiar supporting characters. Too bad they don't get more screen time, especially the poignant Nancy Kulp and the fast-talking Michael O'Shea. The film's too smooth to be genuinely funny. Still, there're amusing moments, occasional caustic charm, but the underlying theme of lonely people may be a reason director Cukor doesn't go for big laughs. I agree with the reviewer who thinks Crain too cool and detached to get into the swim. On the other hand, Brady surprised with a somewhat animated performance, unlike his usual stolid screen presence.

This is also a movie that really needs Technicolor. Instead the dull grays do nothing to underscore a lighter mood or heighten New York City locations. Anyway, Ritter certainly deserves top billing, which instead went to the better-known Crain who doesn't get much screen time until the last third. Plus, it's to someone's credit that a middle-age woman gets so much attention in a medium not known for the aging or plain-faced. Overall, it's an amiable film with an unusual central performance, a poignant topic, but also with an over-stretched script, likely to accommodate movie star Crain.