The Model and the Marriage Broker

Thelma Ritter was a national treasure. She could combine humor and pathos, and the warmth beneath the crusty exterior was always in evidence. Her presence in any film was always one of the high points, but this one is totally hers; she probably has in it the most screen time of any film she was in and, but for the vagaries of Hollywood, should have been first-billed in the credits. She brings great compassion to the character of Mae, who has endured a great loss and as a result has found herself in a business whose goal is to help others.

Under Cukor's sensitive direction, a wonderful script is brought to life (and, in view of his purported concerns about his physical appearance, one wonders if the script's allusions to the lonely and less-than-beautiful people of the world had a particular resonance for him). Dennie Moore, who had played the saucy maid in Cukor's "Sylvia Scarlett" 16 years earlier, shows up and is again a delight.

I agree with other comments about this being a little-known gem with a terrific cast and that it is a pleasure to see Thelma Ritter in a leading role. Cukor's direction is efficient and he's particularly good with long, unbroken takes which help the actors gain momentum and relate to each other. What I found interesting was that the film is very direct about marriage as an economic proposition and how it is often a business arrangement. The other interesting quality is that many of the scenes are almost surreal in their grotesqueness. I really like seeing Scott Brady in a romantic lead, he's very fresh. The film is interesting as a Fox film made right before their turn to CinemaScope the next year with the somewhat similar, and inferior, How to Marry a Millionarie. This film would have been in color and 'scope if made later. It also has some location shooting which was a growing trend at Fox and other studios during this period yet the pacing and dialogue-driven quality of the film is much like a screwball comedy from 10 years earlier.

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.

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.

Although Jeanne Crain gets star billing in this comedy/drama, and even Scott Brady as the X-Ray guy gets billing over Thelma Ritter, this is Ritter's film from the get-go.

She plays Mae Swasey, a no-nonsense marriage broker with a heart of gold. She makes a small living helping life's lonely plain-janes and balding swains find a little happiness. And some of her clients are real doozies. She holds little Sunday afternoon "parties" where the lonely and desperate come together over coffee and cakes and get nudged into pairs.

Of course Mae has a secret of her own: she's in the business because her husband was stolen away 20 years before and she knows loneliness. When she accidentally runs across a naive model (Crain) being strung along by a married man, she knows the score.

So Mae manipulates the model and a struggling X-Ray guy who makes only $75 a week in New York City into some sort of relationship. But they get resentful and send Mae packing. The trouble is that while these glamorous types might not need her help (but they do), many others really do.

Crain learns this after Mae closes shop and goes off to a resort for a rest. Crain meets a few of Mae's customers who can't make a move without her compassion and sage advice. Crain catches on and does a little manipulating of her own.

Thelma Ritter is sensational as Mae. She funny and down to earth and can spit a cherry pit across a room with the best of them. Jeanne Crain is good as the model, and Scott Brady does well as a X-Ray guy. Excellent supporting cast includes Zero Mostel, Nancy Kulp (in her film debut), Dennie Moore, Frank Fontaine, Helen Ford, Michael O'Shea, Allison Daniell as Mae's secretary, Maudie Prickett, Frank Ferguson, JOhn Alexander, Jay C. Flippen, Mae Marsh, Kathryn Card, and Joyce Mackenzie.

They don't make films like this anymore. More's the pity.