Jeanine Basinger Quotes

The ghastly mother-in-law is well represented by a little comedy film of 1952: No Room for the Groom, directed by Douglas Sirk, the fine German director more famous for his melodramas that humanely criticize American morals and values.

Movies with interfering in-laws and kids are often presented as comic, the ridicule bringing welcome relief to beleaguered married folks suffering offscreen at the hands of relatives.

Excellent films do exist on the subject, however, and one is a pure marriage movie in which Newman and Woodward make it work. Mr. and Mrs. Bridge exists to tell moviegoers that the marriage of their parents—especially if they were those tragic dogsbodies, Midwesterners—were fogbound. The film depicts a steady relationship that has no real communication between its couple

... this film taps perfectly into the viewers’ sense of the world. It was a big, big hit, and one of Hollywood’s best-remembered marriage movies, although by grounding itself in trendy political issues, it avoids ordinary day-to-day marital problems. Its bottom line is, however, marry your own kind.

Deanna Durbin's movies are about innocence and sweetness. They're from a different time and a different place. Outside the movie house, there was Depression, poverty, war, death, and loss. Audiences then were willing to pretend, to enter into a game of escape. No one really thought that the world was like a Deanna Durbin movie, they just wanted to pretend it was for about an hour and a half.

The story of a marriage was an excellent way to fulfill the goal of discussing class without discussing class, and to tell an audience that they were upwardly mobile.

Another superb movie about a mature marriage grounded in a fundamental lack of communication is Dodsworth, based on the Sinclair Lewis novel.

Joanne Woodward’s Mrs. Bridge is one of the best performances ever given on film of a middle-aged woman.

Movies endorsed unwanted ideas by putting them into story form and resolving them up there on the screen. The goal was, as always, identification, but also relief.

In-laws were often used as plot devices to drive a happy couple apart, to destroy marital love and trust.

The true marriage movie involving in-laws and children is a story about how marriage is directly affected by external characters who impact the central relationship in various ways.

When it came to portraying couples who never directly connected, the Newmans were the Olympic gold champions