Marjorie Morningstar: Wood, Kelly, and 1950s Values

 

MARJORIE MORNINGSTAR (1958)

Directed by Irving Rapper

Warner Brothers, 123 minutes, not rated.

★★★

 

 

Though it has been 42 years since her death–officially a drowning, though possibly a murder–Natalie Wood (1938-81) continues to be the subject of nostalgic remembrances and lurid tabloid stories. At age 8 she attracted attention in Miracle on 34^th Street and went on to become a famed beauty, a rare raven-haired siren at a time in which Hollywood definitely preferred blondes. Whether or not she was a great actress has been hotly disputed.

 

You can get an education in gender mores during the 1950s by watching Wood in Marjorie Morningstar. She is the title character, though that’s a pet name slapped onto her by Noel Airman (Gene Kelly) and the actual surname is Morgenstern. Wood plays the daughter of Rose and Arnold (Claire Trevor and Everett Sloane), an upwardly mobile Jewish family in New York City. (Wood was actually Russian Orthodox.) One refreshing thing about the film is that there was no attempt to homogenize Jewishness; we see outward professions of faith, a Passover meal, and a debate over Noel’s non-faith. This reflects the refashioning of Americanism after World War II to become, as an influential book put it, “Protestant, Catholic, Jew.”

 

Wood’s Marjorie is a vivacious Hunter College student with aspirations of becoming an actress who is too spirited for her about-to-be-ex boyfriend Sandy. Her best friend Marsha Zelensky (Carolyn Jones) convinces Marjorie that she needs a change and should accompany her to the Catskills where the two become camp counsellors. The trouble begins when Marsha also convinces her to paddle across the lake­–filming took place at Schroon Lake near Glens Falls, New York–because there’s an adult resort on the other side. They need to be careful and inconspicuous, though, as South Winds Resort owner Maxwell Greech (George Tobias) would not hesitate to have them arrested for trespassing. Now there’s an obvious setup! Marjorie sneaks into a dance rehearsal and is enthralled by the professionalism and skill of social director of Noel Airman. When the two are indeed caught, Airman claims Marjorie is a job candidate and offers her employment.

 

That’s settled, but as you probably suspect, the employer/employee relationship will evolve from fascination into romance. Okay, that’s very 1950s, though it did raise some eyebrows even back then. Kelly’s character is said to be 32, though he was actually 46, and Wood was just 19. Marjorie’s parents, of course, have reservations, the aforementioned indifference to religion among them. Marjorie, though, sees Noel as a genius and a show biz bigshot who might help her realize her dreams. We viewers have our doubts, as she’s actually quite amateurish and is starting to suspect it herself. Nonetheless, she rebuffs the advances of the age-appropriate budding playwright Wally Wronkin (Martin Milner), who is smitten by her. The best Marjorie’s parents can do in hope of keeping her from screwing up her life is to plant her uncle Samson (Ed Wynn) at the resort.

Marjorie Morningstar is a romantic drama with comedic touches. Many of the latter are provided by the barbed comments of Claire Trevor and the clowning of veteran character actor Ed Wynn. They are, however, diversions in a story about obsession involving Wood, Kelly, and Milner. This is something of a problem, because the tone of Marjorie Morningstar is an uncomfortable mix of high schoolish skits, Kelly’s dancing, and adult themes of ambition, desire, coming of age, flight, and realizations of one’s limits. It doesn’t quite turn out the way you might expect; some audiences of the day applauded the film’s resolution and others were disappointed. It departed from the ending in the Herman Wouk novel from which the movie was adapted.

 

There is no question that this was a vehicle for a rising star (Wood) and fading one (Kelly), nor can we divorce the content from what was acceptable in the 1950s, cringe-worthy though some things were. I confess that I fall on the side of those who saw Wood as a beautiful young woman, but a fairly ordinary actress. You can make up your own mind about all of that, but the film is probably best viewed through the gauzy Technicolor lens of Harry Stradling’s cinematography. It often looks like an old snapshot rescued from a photo album in the back of a closet. Some might see Marjorie Morningstar as a classic. I’d call it an artifact on par with the Borscht Belt Catskills where it was set.

 

Rob Weir