Tender Comrade

This is the type of movie for which the fast-forward function was invented, as parts of this movie have both fine writing and fine acting, and other parts are dreadful propaganda. The story is simple. Ginger Rogers, husband to soldier Robert Ryan, convinces her other pals working at the war plant to move in together, and pool their assets. The story of Robert Ryan and Ginger is told through flashbacks, scattered randomly through the tale of how five working women manage to live together, even when spouting impossible dialog at each other.

The scenes between Rogers and Ryan are well-written and finely acted. Trumbo and the actors capture (most unusually for almost any movie) how a generally happy marriage works and how a quarrel might develop. Watch the scenes where these two are together. They are (mostly) free of the propaganda that does not age well.

The rest of the movie. Well, the characters are types and serve as mouthpieces for the "We must sacrifice for the war effort" line being sold by the movie. If one is looking for preposterous moments of the cinema, one can flip forward to the scene where our group home's housekeeper gets in a rage because the butcher slipped an extra piece of bacon in the order. (Followed by a confession of hoarding by one of the girls in the house. Followed by an anti-foreigner tirade by the most ethically challenged of the group residents.) There is some decent 'ol fashioned movie rhetoric in this part, but, mostly, this section is hokum.

I disagree with the goof that Robert Ryan is not whistling when coming through the laundry. In close examination, you hear the whistling, see his feet walking toward the laundry line. Then see his face, lips slightly puckered, he draws a breath and continues, just through his lips, but without his lips all bunched up. It's of course possible to whistle this way. I do it all the time!

... but it was part of what got director Edward Dmytryk and writer Dalton Trumbo in trouble with HUAC in the early 50s when this film was considered Communist propaganda.

Four war wives who work in a munitions plant decide that if they pool their salaries and resources that instead of four individual run down rooms for rent that they can rent one spacious house with a bedroom for each, a kitchen, a living room, and a housekeeper. They sell one of the two cars they have between them and use the money to fix up the one remaining car and share it. Apparently this is Communism. Let's just ignore the fact that, at the time, movies were being made that were loaded with pro Russian propaganda because the Americans needed the Russians in the war effort. That was then this is now, as they say.

Other than that, it treads pretty traditional wartime material. One wife (Ruth Hussey) was a bit of a good time girl before the war and rather resents the fact that her good-time husband joined the navy before Pearl Harbor even happened. Another (Kim Hunter) got married on the spur of the moment and had to see her husband off that afternoon. Another (Patricia Collinge) has both a son and a husband in the war.

The central figure, though, is war wife Jo Jones (Ginger Rogers), and most of the film is about her relationship with her soldier/husband Chris (Robert Ryan) before the war as she flashes back to various scenes from their marriage. This part of the film uses a strange device. Whenever there is a scene in which Jo reminisces about Chris, the scene switches to a shot of the two of them in the distance, holding hands with clouds surrounding them, like they are in heaven, before launching into the flashback.

This gets pretty sentimental at times, and Ginger verges on hamming it up, but it did hold my interest for the rather long running time and is a splendid time capsule of the war years.

Jo Jones (Ginger Rogers) is heartbroken watching her husband Chris Jones (Robert Ryan) go off to war. She goes to work at an aircraft plant. She befriends fellow workers Doris Dumbrowski (Kim Hunter), Barbara Thomas (Ruth Hussey), and Helen Stacey (Patricia Collinge). They decide to rent a house together.

The war propaganda is obvious and completely expected. There isn't anything that compelling. They have made each lady do something different. The German housemaid gives voice to all the underlying politics and warnings from Europe. The flashbacks are hit and miss. A better use of the time could be Chris writing letters from the war. Maybe it could show him being heroic. That would be great war propaganda. Barbara hearing about the Yorktown sinking is probably the most compelling moment. The most compelling Hollywood history has to do with the writer Dalton Trumbo who would fall victim to the Red Scare.

"Tender Comrade" was the only film made during the second world war showing what it was like to be a war bride. It just about covers every detail of home life during this time period, such as rationing booklets, war plant jobs, friendships, worries, "not to talk about troop movements" in public and everything a war bride had to deal with. I'm sure one cam complain about dialog, scripts, camera angles, etcetera, but life wasn't perfect and this film recreates life during a time when "politically incorrect" was not mandatory. People actually talked like that then. They dressed like that, lived like that. This film is as close to factual representation of a war bride as anyone ever got and I, for one, am thankful it was filmed and still lives on. Everyone seems to remember the soldier, but not so much about what their wives, mothers, sisters and daughters had to endure while being left behind to wait for their return. Thank you, Mr. Dymytryk.