Evengyny Thanks for the memories!

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

davidallen-84122 I will stay forever young at heart,thinking about this fine movie.At the age of nine,having already been captivated by Doris Day in "By The Light Of The Silvery Moon" and "Lucky Me",I was just old enough to appreciate her in this more mature outing.I had no knowledge of Frank Sinatra,the actor,other than mixed opinions as to his appeal.Therefore,my sympathy was with Doris all the way and this made the ambiguity of Sinatra's character all the more interesting for me.The real quality of "Young At Heart" is that it falls into a category all it's own.It is not real drama (until near the end),not a real comedy and not even what you might call a musical (there is always motivation behind the songs).It's a real credit to Doris Day that,in the face of real competition,she is able to shine brightly above the entire cast,and what a cast we have here.Ethel Barrymore,despite failing health,is the perfect 'Aunt Jessie',giving the story-line real focus and assurance.Dorothy Malone,in a relatively smallish role,has one affecting scene in the car where she admits to being unworthy of her husband (the amiable Alan Hale Jr.).Gig Young,never more charming than here,makes you sorry he loses the girl,even though one can almost understand where Doris is coming from.I'm not a Sinatra fan but he sings his songs inimitably and he is well cast as the melancholy,vagrant musician.Inwardly,I would have liked the alternate ending (hence my 9 rating) because Gig Young deserved better.However,I would not want to have missed the final duet between Doris and Frank ('You My Love' is a gorgeous song).All in all,a near perfect entertainment.

Tony Keith An odd combination of pop musical and heavy drama, but it works, and how!The performances are memorable by all concerned, with a gem of a performance by an ageing Ethel Barrymore, who steals all her scenes in a minor role.The music and the songs, with one exception, fit easily into the plot and don't detract from the continuity of the action.All, who were associated with this movie deserve an award.Even the reported tension on the set between Sinatra, Day, and the producers seem to add a touch of reality to the on screen relationships. This crooner from Hoboken is entirely believable as the ultimate "outsider" to a happy suburban picket fence household.In a subtext, one of the last depictions of the 50s ideal American suburbia, this film portended the new age of disaffection and rebellion against the status quo.The Tuttle family were a sharp reminder of this suburban paradise lost!

krdement The songs, including a couple of Sinatra's best, are easily the best part of this movie. But the rest is nearly unwatchable compared with the original, "Four Daughters."John Garfield delivered a performance in "Four Daughters" that made him an overnight sensation - and deservedly so. His Mickey is a complex character that Garfield absolutely nails with a superbly nuanced performance. Mickey is a pessimist, but he is no brooder. He mucks through life as a rather detached cynic. But his brand of cynicism is not really bitter. Mickey is more resigned than bitter. His persona is the result of circumstances, NOT his innate character. That is what makes his character sympathetic.By contrast, Sinatra carries the weight of the world on his shoulders. He is very self absorbed and bitter. He has none of the devil-may-care insouciance of Garfield. While Garfield evokes sympathy, SInatra evokes pity (at best). There is the possibility that Garfield's character could actually fit into the Tuttle family, given a change of luck. But Sinatra's never will; indeed, he never does. Even while tinkling the ivories in the new happy ending, he still seems like a self- absorbed brooder. His persona is the result of his character not his circumstances. So, when his circumstances improve, his persona is unchanged. The happy ending is a terrible contrivance, but it would have worked much better with Garfield's Mickey than with Sinatra's.Nor did I ever once feel any chemistry between Frank Sinatra and Doris Day that convinced me they truly were a loving couple who I wanted to cheer for. But I did feel that way about John Garfield and Priscilla Lane. There was never such a huge contrast in personality between Garfield and Lane as there was between Sinatra and Day. And I sensed much more chemistry between Garfield and Lane than between Sinatra and Day. The possibilities that seem to be in reach for Garfield and Lane are what makes Mickey's death so tragic. I never sensed those possibilities for Sinatra and Day. Sinatra's death would not have been nearly as tragic. Nor does his survival seem to offer the promise of fulfillment of those possibilities. The gulf between Sinatra's character and Day's character is huge. No mere change of circumstances can change that.In sum, I didn't dislike the Mickey portrayed by Garfield; I didn't like the Mickey portrayed by Sinatra.Finally, the Gig Young character in this remake is absolutely superfluous to the new story. Why even bother with him? Just have Sinatra be the guy who comes to stay with the Tuttles in the first place.

moonspinner55 Unconvincing musical drama, a remake of 1938's "Four Daughters", has bright, cheery Doris Day picking brooding Frank Sinatra for a suitor over bright and cheery Gig Young. She's hoping to cure Sinatra of his demons, of course, and isn't true love the best medicine after all? A corny, artificial outing, although one mounted with classy studio-style and featuring pleasant supporting characters and chipper family chit-chat. Still, Sinatra's dour mood and Young's attraction to Day (over one of her sisters, whose tender emotions are never quite dealt with) leaves one unsatisfied. It's certainly a well-scrubbed, family-oriented diversion, but the all melodrama the screenplay brings up seems wrong-headed, and sour Sinatra never fits in with this sunny family and he never clicks with Day. **1/2 from ****