atlasmb Released in 1935, when the era before WWI held a nostalgic place in the hearts of viewers, "Ah, Wilderness!" relives a spring and summer in the lives of a small town American family, especially one son who is the high school's valedictorian.Adapted from the play by Eugene O'Neill, the film is filled with vignettes that recall life in 1906. The bandstand on the town square, the new-fangled Stanley Steamer, playing the piano in the parlor. Although some characters are more like caricatures, there is a sweetness to the film that culminates in the final, poignant scene.Mickey Rooney plays the younger, rambunctious brother. In 1948, he will appear in the musical version of the story, "Summer Holiday", as the graduating student, Richard.The cast is excellent, with Wallace Beery playing Uncle Sid, a lovable souse without the willpower to live up to the moral standards of the times. You can't have a film about turn of the century America without including healthy helpings of moralizing. Things were changing quickly in newly industrialized America and society seemed very concerned about pinning down community standards for decency and probity.Eric Linden does a fine job as Richard, full of potential and full of youthful earnest, so sure that only he--having read certain books--sees truth.

jarrodmcdonald-1 MGM's adaptation of Eugene O'Neill's classic comedy about small time life benefits from a sturdy cast, especially Spring Byington and Lionel Barrymore. There is also Mickey Rooney who gives a delightful performance as a pre-adolescent son. But it is Wallace Beery, who plays the drifter uncle, that garners the most attention. Check out the dinner table scene where Berry's character stuffs the shellfish in his mouth. And don't miss the long drunk scene, which is brilliant. Despite the antics, it is a surprisingly restrained performance.Remade by MGM, as a musical called Summer Holiday, with Mickey Rooney in a more prominent role.

bucksix I love period movies and this one captures the time and place as well as it is possible. The humor is gentle and very touching. The scene of the 4th of July morning, when all the young boys come out with their firecrackers never fails to put me on the floor laughing.Wallace Berry's delivery of the one word line "soup?" is almost worth the price of admission by itself.I heartily recommend this movie to anyone who has a heart. It will be touched

FilmFlaneur "It seems as if we are surrounded by love" says Barrymore's genial patriarch at the end of this movie. To this viewer at least, the line has perhaps acquired an unintended irony as we contemplate the dulling nature of that ‘love'. O'Neill's work, which originally made gentle mockery of small town middle American taste and values, has perhaps unfortunately, these days gained an uncalled-for 'satiric' edge. The charm and skill of the original vision, captured by the craftsman-like direction of Brown, remains the same. What's happened is that the mildly eccentric, extended Miller family - one for instance in which Swinburne is considered shocking, and radicalism is half digested by callow youths (and then abruptly discarded) now appears stultifying, and we can too easily over compensate by allowing it the hues of a parody. Otherwise it takes a stupendous suspension of disbelief by today's viewer to accept the Millers on their own terms, apple pie and all, which is a shame.A very young Mickey Rooney has a few scenes but is rarely allowed to really shine. This sort of role was no doubt good grounding for the enormously successful Andy Hardy series that lay ahead.Wallace Beery, as Sid Miller, provides the most entertaining scenes in the film as he plays out another characteristically ungainly and comic romance, one typical of his screen roles. (Although he is given top billing, his screen presence is less sustained and more integrated than you'd expect.) Particularly memorable is the evening meal scene where he returns home drunk, and the family are gathered around the table to enjoy his antics. Even Lily, the woman who has consistently refused his repeated proposals through her distaste of his drunkenness, laughs at his comic behaviour. In this sense Beery provides a degree of liberation. The family is relaxed and draws together around the light of Beery's unthreatening inebriation. Some of his interior scenes remind one of W C Fields' work in The Bank Dick and It's a Gift, where he deconstructs the pretensions of middle class America with an anarchic sharpness that speaks to us much more directly today. All in all it's a shame that the focus of the film is more on the young son Richard, whose unsteady standing on the border of manhood is never that enthralling. After a while his foibles and self-absorption become somewhat cloying, and one longs for Beery to reappear so that the fun can recommence. If Richard's on-off romance (and eventual drunkenness) is intended to parallel Sid's, then the comparison is very much to his detriment. Whilst Sid's romance seems important and meaningful, the son's is slow and irritates the modern viewer by the degree of feyness.In short, an entertaining enough film, full of strong performances, but one which needs a dose of modern salt to make it just that little bit more palatable.