Young at Heart (1955)

116-117 or 121 mins | Musical, Romance | 1 January 1955

Director:

Gordon Douglas

Producer:

Henry Blanke

Cinematographer:

Ted McCord

Editor:

William Ziegler

Production Designer:

John Beckman

Production Company:

Warner Bros. Pictures, Inc.
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HISTORY

Warner Bros. planned to make a Lou Edelman -produced musical version of the studio’s 1938 production, Four Daughters (see AFI Catalog of Feature Films, 1931-40) as early as 1952, according to a Jan 1952 DV news item. The 1938 film, like Young at Heart, was based on the Fannie Hurst short story, “Sister Act.” Frank Davis was assigned to write the screenplay, according to a May 1954 LAEx article, but his contribution to the final film has not been determined; only Julius J. Epstein and Lenore Coffee, who wrote the screenplay for Four Daughters, are credited with the screenplay for Young at Heart. Henry Blanke, who produced Four Daughters, also produced Young at Heart. Another veteran of the 1938 film was Al Alleborn, who served as unit manager on Four Daughters but acted as the assistant director on Young at Heart. An Oct 1954 HR news item added Billy Mauch to the cast, but his appearance in the film has not been confirmed. The above sources also reported that the film’s title was taken from Frank Sinatra’s then popular song, “Young at Heart.” As the MPH review states, the title is a misnomer, “because the accent is on the trials of youth and not on those of the young at heart.”
       Young at Heart marked the feature film debut of actor Lonny Chapman (1920--2007), who had a long and prolific career, acting on the stage, in movies and on television. A Sep 1954 HR news item reported that ...

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Warner Bros. planned to make a Lou Edelman -produced musical version of the studio’s 1938 production, Four Daughters (see AFI Catalog of Feature Films, 1931-40) as early as 1952, according to a Jan 1952 DV news item. The 1938 film, like Young at Heart, was based on the Fannie Hurst short story, “Sister Act.” Frank Davis was assigned to write the screenplay, according to a May 1954 LAEx article, but his contribution to the final film has not been determined; only Julius J. Epstein and Lenore Coffee, who wrote the screenplay for Four Daughters, are credited with the screenplay for Young at Heart. Henry Blanke, who produced Four Daughters, also produced Young at Heart. Another veteran of the 1938 film was Al Alleborn, who served as unit manager on Four Daughters but acted as the assistant director on Young at Heart. An Oct 1954 HR news item added Billy Mauch to the cast, but his appearance in the film has not been confirmed. The above sources also reported that the film’s title was taken from Frank Sinatra’s then popular song, “Young at Heart.” As the MPH review states, the title is a misnomer, “because the accent is on the trials of youth and not on those of the young at heart.”
       Young at Heart marked the feature film debut of actor Lonny Chapman (1920--2007), who had a long and prolific career, acting on the stage, in movies and on television. A Sep 1954 HR news item reported that actress Doris Day recorded four numbers from the film for the Columbia Records label. According to an undated DV news item from the 1980s found in the AMPAS Library file for the film, Martin Melcher, who was the husband of Day and president of Arwin Productions, wanted to shoot a new ending for the film and re-release it under a new title, but the venture never came to fruition. Warner Bros.’ 1938 film, Four Daughters was directed by Michael Curtiz and starred Claude Rains, John Garfield and Priscilla Lane. In the earlier version, the piano player did not survive the auto accident.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Hollywood Reporter
23 Jul 1954
p. 2
Box Office
18 Dec 1954
---
Daily Variety
2 Jan 1954
---
Daily Variety
15 Dec 1954
p. 3
Film Daily
16 Dec 1954
p. 6
Hollywood Reporter
23 Jul 1954
p. 2, 11
Hollywood Reporter
26 Jul 1954
p. 6
Hollywood Reporter
3 Sep 1954
p. 4
Hollywood Reporter
17 Sep 1954
p. 10
Hollywood Reporter
24 Sep 1954
p. 3
Hollywood Reporter
1 Oct 1954
p. 10
Hollywood Reporter
15 Dec 1954
p. 3
Los Angeles Examiner
8 May 1954
---
Motion Picture Herald Product Digest
18 Dec 1954
pp. 249-50
New York Times
20 Jan 1955
p. 35
Variety
15 Dec 1954
p. 6
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
An Arwin Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Asst dir
PRODUCER
PHOTOGRAPHY
Dir of photog
ART DIRECTOR
Art dir
FILM EDITOR
Film ed
SET DECORATOR
Set dec
COSTUMES
VISUAL EFFECTS
Spec eff
MAKEUP
Makeup artist
PRODUCTION MISC
Scr supv
COLOR PERSONNEL
Col consultant
SOURCES
LITERARY
Based on the short story "Sister Act" by Fannie Hurst in Hearst's International-Cosmopolitan (Mar 1937).
LITERARY SOURCE AUTHOR
SONGS
“‘Til My Love Comes Back to Me,” music by Ray Heindorf, based on Felix Mendelssohn’s “On Wings of Song,” lyrics by Paul Francis Webster; “Ready, Willing and Able,” music and lyrics by Floyd Huddleston and Al Rinker; “Hold Me in Your Arms,” music and lyrics by Ray Heindorf, Charles Henderson and Don Pippin; “There’s a Rising Moon for Every Falling Star,” music by Sammy Fain, lyrics by Paul Francis Webster; “Someone to Watch over Me,” music by George Gershwin, lyrics by Ira Gershwin; “Just One of Those Things,” music and lyrics by Cole Porter; “One for My Baby,” music by Harold Arlen, lyrics by Johnny Mercer; “Young at Heart,” music by Johnny Richards, lyrics by Carolyn Leigh; “You My Love,” music by James Van Heusen, lyrics by Mack Gordon.
DETAILS
Release Date:
1 January 1955
Production Date:
22 Jul--end Sep 1954
Copyright Info
Claimant
Date
Copyright Number
Arwin Productions, Inc.
1 January 1955
LP5774
Physical Properties:
Sound
RCA Sound System
Color
WarnerColor
Widescreen/ratio
up to 1.85:1
Lenses/Prints
Technicolor
Duration(in mins):
116-117 or 121
Country:
United States
Language:
English
PCA No:
17193
SYNOPSIS

In Connecticut, widowed music professor Gregory Tuttle has three daughters, who share his love of chamber music. Fran, his oldest, becomes engaged after only seven dates to the chubby but successful Robert Neary. Amy, who is ambivalent about her admirer, the soft-spoken Ernest Nichols, is not expecting to marry soon. The youngest daughter Laurie has no suitor and muses that the trouble with most marriages is that there are “not enough laughs.” She jokingly offers Amy a “double or nothing” proposal, in which they either have a double wedding or remain spinsters together. Later, Alex Burke, a confident New York composer and dog lover, introduces himself to Gregory as the son of an old friend, and finagles an invitation to room at the Tuttle house while he composes a musical he has been commissioned to write for Broadway. Alex’s take-charge personality charms all three Tuttle sisters, but he falls in love with Laurie, and gives her a bracelet during an outing at the beach. Soon after, Barney Sloan, a music arranger, comes to town to work with Alex on the musical and despite Barney’s sullen manners, Laurie and Aunt Jessie, Gregory’s spinster sister, warm up to him. After listening to Barney enumerate his misfortunes and complain that fate is against him, Laurie feels challenged to help him improve his attitude. She also recognizes his great, untapped talent and urges him to complete a song he has partially written. Although he hides his true feelings behind cynical jests, Barney is touched by her efforts. Later, when Alex proposes to Laurie, she accepts by saying “it might be fun” and they announce their engagement at Gregory’s birthday party. Surprised ...

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In Connecticut, widowed music professor Gregory Tuttle has three daughters, who share his love of chamber music. Fran, his oldest, becomes engaged after only seven dates to the chubby but successful Robert Neary. Amy, who is ambivalent about her admirer, the soft-spoken Ernest Nichols, is not expecting to marry soon. The youngest daughter Laurie has no suitor and muses that the trouble with most marriages is that there are “not enough laughs.” She jokingly offers Amy a “double or nothing” proposal, in which they either have a double wedding or remain spinsters together. Later, Alex Burke, a confident New York composer and dog lover, introduces himself to Gregory as the son of an old friend, and finagles an invitation to room at the Tuttle house while he composes a musical he has been commissioned to write for Broadway. Alex’s take-charge personality charms all three Tuttle sisters, but he falls in love with Laurie, and gives her a bracelet during an outing at the beach. Soon after, Barney Sloan, a music arranger, comes to town to work with Alex on the musical and despite Barney’s sullen manners, Laurie and Aunt Jessie, Gregory’s spinster sister, warm up to him. After listening to Barney enumerate his misfortunes and complain that fate is against him, Laurie feels challenged to help him improve his attitude. She also recognizes his great, untapped talent and urges him to complete a song he has partially written. Although he hides his true feelings behind cynical jests, Barney is touched by her efforts. Later, when Alex proposes to Laurie, she accepts by saying “it might be fun” and they announce their engagement at Gregory’s birthday party. Surprised by the news, Fran decides to move up the date of her own wedding. Amy, who is secretly infatuated with Alex, becomes distressed, but Laurie misunderstands the reason for her tears. Afterward, the disappointed Barney avoids the family, but Laurie seeks him out on the day of her wedding. After admitting that he loves her, Barney also intimates that Amy is in love with Alex. Although she is reluctant to believe him at first, Laurie soon realizes that Barney is right about Amy. Thinking that she is doing the best thing for everyone, Laurie sends a cryptic telegram announcing that she has eloped with Barney, which is delivered as friends and family gather for the ceremony. Ernie takes charge, realizing that the family is paralyzed by the news, and announces to the guests that the wedding has been called off. Several months later, Barney and Laurie are living frugally in New York City on the money Barney makes performing in piano bars. Although he has published a few unsuccessful songs, Laurie urges him to finish the song he has worked on since they met. Lacking the money for airfare, Barney misses out on a potentially lucrative opportunity to play with a band in South America. Despite their financial problems and Barney’s depression, Laurie has realized that she really loves him, even after he jealously demands that she pawn the bracelet Alex gave her. At Christmas, Barney buys back Laurie's bracelet and they return to the Tuttle home for the holiday. Alex, whose musical has become a success, also joins the family. When they have a moment alone, Laurie returns the bracelet to Alex, but Barney, watching them, thinks Laurie still loves him. Alex has to catch a train, so Barney drives him to the station in Bob's car, dropping Bob off at the drugstore on the way. While returning to the Tuttle house alone through a snowstorm, the depressed Barney intentionally crashes the automobile. Meanwhile, Amy, now engaged to Ernie, confides to Laurie that she once loved Alex, but her feelings changed when she saw how calmly Ernie took care of the family after Laurie eloped. As Laurie laments that she can’t make Barney believe she loves him, the Tuttles are informed about the automobile accident involving Bob's car. Believing Bob has been seriously injured, Fran grieves that she has taken her husband for granted. However, at the hospital, they learn that it is Barney who is near death. Weeping, Laurie tells the unconscious Barney that she is going to have his baby. Although the doctor has little hope for him, Barney is taken to the operating room. Over a year later, while he, Laurie and their baby son celebrate Easter at the Tuttle home, the recovered Barney plays his completed song for the family.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.