So, with all the dramas in last year’s field, I guess it’s a good thing I’m starting off the 50’s with a light comedy; or, at least, a film with light-hearted and comedic undertones. I’ll admit, it took me several attempts to get through this one; it was only afterwards that I found out it was a stage play directed for the screen by George Cukor, which both things individually in hindsight would’ve made it tough for me to get through the film. Still, if I’m being as objective as I can be, it’s really not a knock on Born Yesterday that I had to try a few times to get through all of it, because the film really does do a good job at what it wants to be; it’s just what it wants to be that I personally found not as engaging as I tend to look for in films like these.
Broderick Crawford is Harry Brock, a junkyard tycoon who takes a trip to Washington, D.C. to try and use some of his vast wealth to… ‘influence’ a Congressman or two; why he wants to do this is intentionally vague, and may indeed just come around to “for funsies”. In order to sweeten his image in D.C., he’s brought along his current mistress, Billie Dawn, played by Judy Holliday, whose blond hair is as light and shiny as her voice is shrill and cartoonish. Billie has basically not known life outside of Harry’s shadow, being rather uneducated and generally not for lack of anything she needs as Harry’s girl, but Brock is still concerned her brashness and rough edges will turn away potential business, so he ropes in a D.C. reporter played by William Holden to smooth her out and teach her how to be proper enough in the city. Of course, reporter Paul Verrall takes it upon himself to educate Billie even further, and Billie soon is able to understand how much smarter and better she is as a person over Harry, as well as how she can be treated decently by a man like Paul; and if you’re hearing romantic undertones, you’re completely not off the mark at all. Being a stage play made for the silver screen, a lot of what we’ll be seeing in terms of action and driving narrative is the dialogue and characters themselves, and it’s this that I think made it such a tough watch for me to get into both at the start and when I kept trying to pick the film back up. There’s really nothing about Born Yesterday that grabs you as a picture, or would be a true selling point to people who wouldn’t basically be sold on it already; really, if you don’t have to watch it as an obligation to yourself for whatever reason (like going through a list of films it happens to be on, for instance), there’s no real reason to watch it at all. Still, if you do have to see it, it does manage its job fairly well, and I did find myself laughing a few times at the dialogue and comedic timing of the main trio. I did find it personally amusing that I’d end up seeing Broderick Crawford again so soon after his one-for-one Best Actor win the previous year, and his character here is pretty much a caricature of the character he played prior, amusingly enough. Crawford’s Harry Brock is intentionally the bombastic, screen-filling personality at the center of the film, but it’s amazing how Judy Holliday ends up stealing every scene she’s in with him so completely effortlessly that it becomes comic in and of itself. When Holliday first opens her mouth, her character’s voice threatens to turn you off the entire picture immediately, and it’s thanks to Holliday’s impeccable timing and effortless characterization that makes Billie something so much more than just an annoying voice. It may suck that she beat both Bette Davis and Gloria Swanson this year to Best Actress, but I can actually see how and why the Academy went the way it did, even if I’m not completely sure I’d go that way myself.
Honestly, even with how many times it took me to sit down and get through the entire running time (which was under two hours, mind you), I’m kinda glad I watched this. Really, if for no other reason, than to see the performance that did actually beat the leading ladies of All About Eve and Sunset Blvd. to the top acting honors at the Oscars. Again, I’m still not in a position to say for myself decisively if I would’ve voted for Holliday over the other two (or three, actually, with Anne Baxter included), but I can definitely say that the decision at least wasn’t a massive fluke. I’m still going to be a little annoyed going forward every time I have to sit through a George Cukor film, and I’m definitely not 100% on how this got nominated for the big one, but it’s actually not a disappointing watch, so it’s got that going for it, at least.
Arbitrary Rating: 7/10