It Happens Every Thursday

John Forsythe, pregnant wife Loretta Young, and their son leave New York and his newspaper grind to take over a small town newspaper in California. There they struggle with small circulation, bad finances and a suspicious local crowd.

It's an innocuous, light-hearted drama that breaks no new ground, one of the utterly banal near-comedies of the era. Where it excels is in its wealth of supporting actors, including Edgar Buchanan as yet another big-hearted printer, Jimmy Conlin, Frank McHugh, Jane Darwell, Gladys George, Regis Toomey, and even Francis Ford in his next-to-last movie.

Better known as John Ford's brother, Francis had started out in movies as part of the Melies company in Texas doing cowboy pictures. By 1915, he and Grace Cunard were major players on the Universal lot, doing serials, adventure pictures, often with Ford directing. When brother John came out west, Francis got him work on the lot. Ford continued as a supporting player through the 1930s, but eventually was reduced to bits in his brother's pictures. In all, he made almost five hundred shorts and features as a performer, 180 as a director. He died the year this picture came out, aged 72.

Loretta Young, the toothy, huge-eyed leading lady, was known in Hollywood as "Attila the Nun", due to her evangelical Catholic faith (which extended to introducing a swear jar on set, something I'll have to implement at work) and iron will. She may have been voted the Hollywood Women's Press Club's most cooperative actress of 1950 (Bob Mitchum scooped their least cooperative actor gong), but then she always was a sassy self-publicist. Still, despite all that, and the bad press she's had in recent years for the whole Judy Lewis affair, she remains an attractive performer: ethereal and appealing in those early years, then a fitting screen mother as her fascinating looks ebbed away.

It Happens Every Thursday was her final film and it's a charming piece of Americana: something like the gentle cousin of Sam Fuller's Park Row, with a showy role for Young as the archetypal supportive wife – stoic, resourceful and loyal. John Forsythe is a New York newspaperman who buys his own small-town 'paper – the Eden Chronicle – and finds it's going to need a bit of work. The relationship between Forsythe and screen wife Young is smartly written and delightfully played, and the difficulties they face are nicely realised. The familiar baddie in such movies, a hateful, sniping little gossip gleefully ruining lives, is usually a harridan, but here you get a fey wannabe adulterer, played by Willard Wateman. The rest of the supporting cast is pretty much terrific, featuring the greatest character comic of them all, Frank McHugh, alongside Preston Sturges regular Jimmy Conlin and round-faced Edgar Buchanan, who's excellent in a surprisingly deep role. Best of all is the magnificent Gladys George (also appearing on the big screen for the final time), the most sympathetic brothel owner in '50s cinema. This blend of Johnny Come Lately and Mr Blandings could have seemed stale, but thanks to good scripting, pleasant plotting and lovely acting, it turns out just great.

This is a charming film made back when films could be made just to be charming. It is the story of a big city couple that move to a small town to run the little weekly paper there. They find that their big city way of thinking can get them in trouble with small town minds and mores! I especially liked their photo file; when they wanted a picture of an arrogant citizen the only one on file was of him as a baby-naked on a bearskin rug! This film is another that I would love to see restored and made available on DVD.

As a long-time and former journalist, I was hooked early when a character bought a copy of the magazine "Editor & Publisher," the bible of the newspaper industry -- or it was then. And was into the many years of my being in the industry. (I even wrote an article for it.) But it might not even exist now, since newspapers themselves are dying like the proverbial flies, or cutting days of publication from seven to as few as three.

What the magazine-buying character found was an ad selling a small-town weekly, the owning of which, at one time, was many a journalist's dream.

And, for some, maybe for many, the dream still exists, although it is probably more difficult now to make a living with such a publication.

Many of the difficulties shown in this movie are drawn from real life. People will not subscribe. People will not advertise.

But they by gosh expect to have their stories covered, their clubs, their sewing circles, their engagements and weddings, their schools, their churches. "And be sure to spell my name right this time: It's 'D-O-W.' With a 'D' and not a 'C.' "

(I once misspelled "Raul" as "Raoul," French vs. the correct Spanish. First rule: ASK the spelling, especially names.)

When a farmer complained about no coverage for the drought, he expressed a valid complaint. With an almost non-existent staff, a paper might not be able to cover much outside the nearest neighborhoods around the paper's office.

The editor's response here is rather extreme, even for California, and takes the story out of the mundane.

The cast in this Universal Picture is top of the line, and they are handed some excellent well-written dialogue.

I highly recommend "It Happens Every Thursday," a very good copy of which is available at YouTube.

Loretta Young and John Forsythe both do fine work here, as does the entire supporting cast, all of which are very good really. The basic story is solid enough too, but the script just isn't funny or witty enough to create the humor and engagement intended. As such the overall effect is a bit flat. Still there are enough moments in It Happens Every Thursday to check it out if your interested/curious.