Stars, Style, & No Substance! ‘What a Way to Go!’ 1964

 

Shirley MacLaine stars as Louisa May Foster, who marries and loses most of her
 five husbands in 1964's comedy, "What a Way to Go!"

One of the many '60s all-star spectaculars that was heavy on stars and style, but light on solid story or scintillating dialogue, was 1964’s What A Way to Go! Movies like this are often fun for star gazing and glamour. Yet such films are often dull and don't age well, and here’s just a few: Let's Make Love, The V.I.P.s, The Yellow Rolls-Royce, and What's New, Pussycat?

Shirley MacLaine's widow tells shrink Robert Cummings about EVERY husband
in "What a Way to Go!"

This 20^th Century Fox fluff is a comedic story of a woman who’s looking for true love but is always left widowed—and richer. Money doesn't buy happiness, but it brings 70-plus Edith Head costumes, Sydney Guilaroff wigs, Harry Winston jewels, and fabulous sets in What a Way to Go! The featherweight romp also features some diverse husbands: Dick Van Dyke, Paul Newman, Robert Mitchum, Gene Kelly, & Dean Martin. 

The super-size comedy was originally meant for superstar Marilyn Monroe, when Fox decided to take Marilyn back after Something's Got to Give. Marilyn certainly could have elevated this mild vehicle with her natural comedic charms. But it was not meant to be, as Marilyn died soon after. Continuing in the same daft logic, Fox then offered the role to their other diva headache, Cleopatra aka Elizabeth Taylor. The part of a woman who marries five times and becomes richer, with bigger wardrobe and bigger hair with each marriage... what a stretch! But ET’s world now revolved around Richard Burton.

Can't imagine why Fox offered this movie to Elizabeth Taylor! Actually,
Robert Cummings plays the shrink in "What a Way to Go!," not a husband...

The sensible choice of Shirley MacLaine as Louisa May Foster was finally made. Was MacLaine as a brunette here a hangover from the prior choice of Liz? Regardless, while Shirley presents a model slim figure that was more in keeping with the '60s than either curvy MM or ET, MacLaine seems at times dwarfed by the outlandish costumes, towering wigs and Christmas tree jewel sparklers.

Naturalistic Shirley MacLaine & '60s glamour didn't seem to go together.
Note the pancake makeup on her face, then her freckled arm in "What a Way to Go!"
With Robert Mitchum as her tycoon husband.

While MacLaine is a natural comedic actress, a strong director like Billy Wilder was needed to keep her from going from Shirley to shrilly. There's more than a few screaming Mimi moments in this broad comedy, but MacLaine also gets some laughs. It's fascinating to see her play the child Louisa with a wink, without the '60s pancake foundation, false eyelashes, stenciled brows, and overdrawn lipstick—though I do detect mascara. 

Shirley MacLaine as little Louisa in an amusing moment from "What a Way to Go!" 

Most of Shirley MacLaine’s co-stars were old pals or lovers, so Shirley has a nice rapport with each "husband" in What a Way to Go! In a nutshell, in order:

Dick Van Dyke is a very energetic match for Shirley. As Edgar Hopper, Dick is a small-town guy whose hero is Thoreau. But when his love rival mocks his and wife Louisa’s low-budget lifestyle, Hopper hops to, and becomes a big success as a businessman. And promptly keels over from overwork!

Dick Van Dyke as Shirley MacLaine's first husband in "What a Way to Go!"

Paul Newman is next up, as the artist in Paris, where Louisa goes to grieve. Paul gives one of his more relaxed comedic performances, unlike the leering Rally Round the Flag Boys and A New Kind of Love. Amusingly, his character’s name is Larry Flint, but not that Larry Flynt. Paul looks great with a beard, as the starving artist who's always eating! Slim and slight Paul and Shirley are dwarfed by the lavish contraptions and sets in their marital sequence. As Larry’s painting machines finally create successful works, Flint is consumed by the cash rolling in. As he and the machines become more frenzied, they turn on their creator.

Shirley MacLaine's Louisa seems to adapt to each husband's life.
Here, she is Paul Newman's artist wife in "What a Way to Go!"

Next, widowed again Louisa meets Robert Mitchum as a Howard Hughes-type tycoon, Rod Anderson, Jr., at the airport (remember Hughes once owned an airline). MacLaine’s unlucky in love lady figures this latest love is already rich, so what can happen? Ironically, their attempt at living simple down on his farm turns out to be a kick in the head for Rod. Mitchum is laid-back and droll, as always.

I never miss a Nina Foch movie! Kidding! Shirley MacLaine goes platinum for a
hot minute in "What a Way to Go!" With hubby #3 Robert Mitchum.

Shirley’s perennial widow meets Pinky Benson at a local diner. Gene Kelly parodies his Singin’ in the Rain persona here as the small town entertainer, who finally makes it big. Though criticized by some folks as too old, Kelly looks fine for 50, is quite funny, and dances beautifully, of course. Pinky’s fate is getting fatally mobbed by his fans!

Shirley MacLaine's Louisa envisions her marriage to Pinky Benson as a Hollywood musical number. Gene Kelly, aptly cast as hubby #4 in "What a Way to Go!"

At this point, once again widowed Louisa is telling her woes to her shrink, when an old beau walks in. Once her small town’s richest guy, the man is now the building’s janitor! Dean Martin plays comedic jerk Leonard Crawley quite well, and his nonchalant demeanor is perfect here. As the one husband that Louise doesn’t initially love, the creep turns out to be the keeper.

Dean Martin bookends "What a Way to Go!" as first a foiled suitor, then as
Shirley MacLaine's final husband.

Finally, there is Bob Cummings, his usual unctuous self as the smarmy shrink who nearly becomes a husband to Louisa, as well.

One surprise was Margaret Dumont, of the Marx Brothers movie fame, who is bizarre and unfunny as Shirley's mother. Plus, Dumont’s dressed like she’s from a guest shot on The Beverly Hillbillies!

The Edith Head costumes and the sets are meant to be over the top but sometimes veer into awesome ugliness. Head cleverly uses the clothes to further Louisa's story, but I was surprised how many costumes were visions of monochromatic vivid colors. I was getting visions of Liz Taylor's Vincente Minnelli-supervised wardrobe in The Sandpiper. And the Pepto Bismol pink mansion of Gene Kelly’s Pinky is truly stomach churning.

Husband Pinky Benson decrees that his mansion be painted in his honor, in
"What a Way to Go!" Wafer slim Shirley MacLaine sports a contrasting black bikini.

Broadway’s Adolph Green and Betty Comden, the couple that wrote this story, also gave us Singin' in the Rain and Auntie Mame. Sadly, their script and wit seems very broad and sporadic in their last feature film together.

There are few zingy lines and most of the movie parodies of each marriage are mildly amusing, except the Ross Hunter-esque "Lush Budgett" sequence, which is so one-note that it quickly becomes tedious. The musical number with Gene Kelly is a great take off on MGM numbers, and still fun in its own right. Shirley and Dick Van Dyke’s expressive faces and graceful forms make their silent movie spoof fun. And Paul Newman and Shirley are certainly sexy enough in their French “art” film parody, though it’s pretty tame.

Shirley MacLaine & Dick Van Dyke are charming in the silent movie fantasy scene that symbolizes their marriage in "What a Way to Go!"

The director J. Lee Thompson was an odd choice for comedy as he previously helmed The Guns of Navarone and Cape Fear. He next directed Shirley in the 1965 bomb John Goldfarb, Please Come Home! Written by William Peter Blatty, who rewarded his friendship with Shirley by modeling her for his heroine in The Exorcist, thus creating the urban myth that MacLaine's daughter needed an exorcism!

Shirley MacLaine's Louisa in wearable art, courtesy of artist husband Paul Newman
 in "What a Way to Go!"

While I hardly laughed out loud during the entire movie, What a Way to Go! is generally amusing. But it all feels like a pile of frosting—on a cupcake! Shirley MacLaine didn’t carry another hit movie until The Turning Point over a dozen years later. Even then, Anne Bancroft was pulling equal weight. Frankly, Shirley never carried a movie on her own during MacLaine’s leading lady heyday.

There are worse ways to go than watching What a Way to Go! Watch the stars and lavish production, with your brain turned off.

Actress Gari Hardy with Paul Newman, in a deleted scene from "What a Way to Go!" Is it my imagination or is she supposed to resemble Marilyn Monroe? If so, that seems in bad taste as this film was intended for Monroe, before she died two years earlier.

 

 

 

 

'Love' is a 'Beach' for Lana & Joan!

Lana Turner tussles with Hugh O'Brian in 1965's "Love Has Many Faces."
Joan Crawford & Jeff Chandler spar/spark in "Female on the Beach."

MGM grads Lana Turner and Joan Crawford faced latter day dilemmas discerning love from lust, as cougars versus beach boy toys, in Love Has Many Faces and Female on the Beach.

Lana Turner as jaded Kit Jordan in "Love Has Many Faces." Cliff Robertson
as her 40-ish boy toy, to whom she's married unhappily ever after.

Here, these divas play tough cookies with lots of dough. In 1965’s Love, Turner plays Kit Jordan, the richest woman in the world. In 1955’s Beach, Crawford is Lynn Markham, former Las Vegas “specialty dancer” and widow of a rich “business man.” Both ladies are loaded (sometimes in every sense!) but lonely. Lana’s Kit cools her cha-cha heels in Acapulco, with beach boys and a bevy of Edith Head costumes. Kit’s cool changes when her most recent boy washes up on shore, an apparent suicide. Joan’s Lynn decides to move in to her late husband’s California ocean front pad after the tenant dies mysteriously. “Love is thin ice,” as Lana’s parting jewelry gift is inscribed, which describes both of these sordid soaps.

Joan Crawford as Lynn Markham, in business on top/party on bottom beach wear!
In "Female on the Beach," Lynn has a love/hate attitude toward Jeff Chandler's gigolo.

In Love Has Many Faces, Lana Turner was 43 during filming; co-cougars Ruth Roman and Virginia Grey were 42 and 47. Lana gets the super-glam treatment and was also the best preserved of the trio. Still, they are all treated like desperate dames. What makes this more absurd is that beach "boys" Cliff Robertson and Hugh O' Brian were 40 and 39. Both had nice physiques, especially show-off O' Brian, but they looked a bit weathered themselves.

Lana's thin, tan, and in soft focus in "Love Has Many Faces!"

This "Female on the Beach" wants you to know she's still got it going on!

In Female on the Beach, Joan Crawford is the lone cougar, with 34-ish stud Jeff Chandler selling his wares. Joan was on the eve of turning 49 during the Beach shoot—if you think she was born in 1906. Crawford shows off her taut figure at every turn, at times touching herself for no apparent reason. While her magnificent face is filmed very flatteringly, Joan’s insistence on her latter day kabuki makeup negates the effect. Interestingly, both Lana and Joan sport very cropped hair-dos in their beach soaps—to prevent bed-head?

No, your vision's just fine! Just Lana getting some extra "Love" from the camera man!

This "Female" is equally flatteringly photographed, but Joan's makeup is too much!

Stephanie Powers was age 21 during shooting of Love Has Many Faces. She plays an innocent young woman there to claim the dead body of her former boyfriend, last seen as Lana's latest beach boy toy. The police and Powers want to know if fun couple Lana and Cliff had anything to do with the young man's death. Powers is a sensible nice girl here, so her Edith Head duds are a bit dowdy, while Acapulco Lanita dazzles in her playgirl get-ups. It’s implied that Robertson, a one-time beach boy who married sugar mama Lana, is age-appropriate for Powers, even though he was nearly twice her age in real life.

Cub meets the cougar! Stephanie Powers & Lana Turner in "Love Has Many Faces."

"Specialty dancer" meets the realtor! Joan Crawford & Jan Sterling, "Female on the Beach."

In Female on the Beach, the only competition is the edgy realtor, Amy Rawlinson, played by Jan Sterling, no stranger to tough broads. Jan’s sullen puss always reminded me of a mean Marilyn Monroe. Watching Joan and Jan is one of the many camp highlights of this bitchy Beach.

Close-up on Lana

World weary Lana Turner, with dreary Cliff Robertson, in "Love Has Many Faces."

The main difference with Love Has Many Faces from Turner’s other latter day soaps is that Lana goes from suffering in mink to suffering in swim wear! As with a number of Turner films, Love plays to her off-screen reputation. At this point, she had survived the Johnny Stompanato scandal and made a huge comeback in Imitation of Life. Turner had appeared in a number of sexy soaps playing up her femme fatale persona. Love was perhaps the gaudiest, but the biggest was just around the corner, Madame X. Lana is softly lensed in Love by MGM veteran Joseph Ruttenberg.

Lana Turner & Hugh O'Brian have a tan-off going on in "Love Has Many Faces."

Lana was in great trim, borderline thin and super tan, with platinum hair. Acapulco was Lana's playground at the time, so she was quite at home in the milieu of sun and “fun.” Lana's costumes are borderline drag queen but suit this movie just fine.

Lana Turner's about to have a rough encounter with a bull, and I don't mean
Hugh O'Brian, in "Love Has Many Faces."

Lana postures vary between world-weary and worrisome. This movie tries to have its cake and eat it, too. Savor the sinning, followed by uplifting regret! Cliff Robertson, who suffers from seller's remorse to Lana, is a sullen sad sack. Hugh O'Brian has fun with his role of the bad boy beach boy. And he certainly doesn't mind showing what the good Lord gave him. Ruth Roman's no-nonsense rich broad is a bit of fresh air in this salacious soap. In all the publicity pix with Hugh O’Brian and his cougar Roman, she looks like she’s about to claw him.

Wyatt Earp never dressed like this! Hugh O'Brian is a cynical gigolo with a beach bod.

The story is as slight as Lana's figure, but the finale is a hoot. As Cliff's kept hubby is drawn to Powers pure bred girl, Lana's Kit gets in a snit and lets herself get gored by a bull... symbolism anyone? Still, there's a happy ending for Lana in Love Has Many Faces, and that doesn't mean Turner’s Kit now has two navels!

Joan’s Close-up

Joan Crawford gives Jeff Chandler her patented stare in "Female on the Beach."

In Female on the Beach, Joan Crawford’s Lynn Markham shows up to reclaim her beach abode. The cops are investigating the crime scene down on the beach, while the realtor and her crew are busily cleaning up the mess inside. This is pre-CSI/Law and Order, for sure. Love Joan's side eye as the realtor and crew try to do a quick cleanup, necessitated after the last tenant’s very abrupt departure.

More than a fleeting glance of Joan hitching up her panties to her baby doll nightie!

Now Joan's Lynn is ready to greet the day! 1955's "Female on the Beach!"

As with many latter day Joan Crawford vehicles, her character gives a little speech rationalizing why she's become such a tough broad. Here, Lynn tells the tale of sharing a room with two other sisters—sob! She tells the beach cop that she's longed to be alone in a big house just like her beach digs.

While Lana flaunts a Coppertone tan in her beach soap, Joan shows off her gams
in "Female on the Beach." The helping hand is Jeff Chandler's!

When local gigolo Drummy wakes up Joan’s Lynn early in the a.m, I half expected her to yowl, "Christopher, Tina, dammmm-it!" Jeff Chandler’s Drummy soon finds out that Lynn prefers her morning deep brewed flay-vah alone!

One of many Joan's camp classic lines from "Female on the Beach!"

After one day of intoning that she wants to be alone more than Garbo in Grand Hotel, Lynn's second evening finds her lonely and bored. In her new digs, she’s moping around in a cocktail dress with a drink, moodily listening to the movie's sultry soundtrack. Finally Lynn grabs her jeweled sweater and goes for a beach stroll in ankle strap heels, like any of us would do. Spotting Drummy toiling on his parked boat, she climbs aboard. After some acidic banter, they kiss, with further turgid dialogue.

Joan's "specialty dancer" in rather fancy beach wear in "Female on the Beach."
 Somehow, I don't her "specialty" was the Charleston!

The next day Lynn gets invited to dinner and cards by Drummy’s older pals. Watching Female on the Beach, I had a mental image of Natalie Schaefer’s husband here played by Gilligan’s Island co-star Jim Backus, instead of Cecil Kellaway. Picture Lovey and Thurston Howell as gigolo pimps!

Cecil Kellaway & Natalie Schaefer as Jeff Chandler's "friends" in "Female on the Beach."

It’s a chilly beachfront morning, but Joan’s widow is clad in only a coat, skimpy shorts, and high heels! As she stokes a fire, a brick in the fireplace comes loose. Like something out of Nancy Drew, Lynn pulls it out to find late tenant Eloise Crandall's diary. How does she know?  Because it says so, in big block letters! Like all old movies, the handwriting looks like over-sized cursive exercises. And surprise, Crandall's tale of romance with Drummy seems familiar!

Love how Jan Sterling's realtor rushes the maid past home owner Joan Crawford,
 with the evidence from the previous tenant, in "Female on the Beach!"

Every time Lynn fights with Drummy, she hits the bottle and turns into a wretched mess. After the last time Drummy doesn't call, Lynn goes on a bender. She staggers around in a nightie with a Peter Pan collar and puffed sleeves, knocks over ashtrays, and slurs insults. But the minute he calls, she's sober and in blissfully in love again. Reunited, they both let down their butch hair to disclose their sorry pasts.

Joan Crawford as plastered and pouting Lynn Markham is not a pretty sight in
 "Female on The Beach!"

Though Joan's “specialty dancer” was only married to her "business man" a scant half dozen years, she didn't know much about life when she met him... implying that she was a shallow young woman. Uh, Joan's 50ish here! Chandler's Drummy possesses quite the fake scar, courtesy from his suicidal mother.

Joan Crawford's Lynn, in her more tender moments, with Jeff Chandler's gigolo,
in 1955's "Female on the Beach."

Before they head off on his boat to get hitched, it's Sterling's Amy who now gets to make a sloppy drunken scene over Drummy. On their way, a contrived plot device causes Joan to distrust her man again. Which leads to the climax where latter day Joan once again goes mano-a-mano against her leading man. The movie wraps up in dime store novel fashion and Joan doesn't even get gored by a bull—unless you count Jeff Chandler!

No, Joan doesn't get gored by a bull in her beach opera! "Female on the Beach."

Jeff Chandler as gigolo Drummy, the manwich for the "Female on the Beach."

Female on the Beach could be titled The Three Faces of Joan. Joan’s Lynn is alternately: the iron-clad widow; the boozy, suspicious woman; and the warm woman in love. Viewers can get whiplash trying to keeping up. But like many of Joan Crawford’s latter day vehicles, it's just an excuse for Joan to run through her greatest hits of movie posturing. Jeff Chandler holds his own against Crawford, alternately sexy and sinister. And Jeff’s a hunk of silver fox, to boot.

Jeff Chandler's Drummy, judging Joan's choice of reading material or hair-do?
1955's "Female in the Beach."

Final Score

Both Love Has Many Faces and Female on the Beach are campier than Halloween at Cher’s house, but I give Joan’s bitchy beach soap the edge. While Love has many eye-rolling moments, Beach has so many howler lines that it’s virtually a Carol Burnett parody of a Joan Crawford movie. On a high camp level, both ladies’ star vehicles are also highly enjoyable.

The winner! This "Female on the Beach" gets her happy ending!

Here is my look at Lana’s last and greatest comeback, Imitation of Life:

https://ricksrealreel.blogspot.com/2017/12/imitation-of-life-1959.html

Here is my take on one of Joan Crawford’s most sympathetic latter day roles, with Cliff Robertson, in Autumn Leaves:

https://ricksrealreel.blogspot.com/2022/09/crawfords-latter-day-best-autumn-leaves.html

Charles Busch line: "White is, after all, the traditional color of mourning
in India." Kit Jordan & hubby Pete attend her latest boy toy's funeral
in 1965's "Love Has Many Faces."

Loretta Young Just Fine as ‘The Farmer’s Daughter’ 1947

 

As "The Farmer's Daughter," Loretta Young leads a fine cast in this 1947
romantic comedy: Joseph Cotten, Charles Bickford, and Ethel Barrymore.

In my sixth decade, I finally got around to watching the 1947 film The Farmer’s Daughter. I avoided this romantic comedy my entire movie watching life, thinking it silly and sappy.

While The Farmer’s Daughter is a total fairy tale, it is presented as such. The RKO comedy tweaks the premise, offering a wink at its "farmer's daughter" references, since Katie Holstrom is a Swedish Cinderella who makes good. The situations are totally unrealistic, but the dialogue and attitudes are surprisingly smart and forward-thinking for the era.

Loretta Young is "The Farmer's Daughter," who leaves her big family for the big city!

Young’s Katie leaves her farm home for the “capitol city” to become a nurse. The small town girl doesn’t even make it from the bus stop before getting conned out of her savings, by a boozy businessman. Katie finds work at the capital as a maid for the political Morley family. Her refreshing no-nonsense energy ends up charming the entire family, especially the politician son. Through a series of fanciful situations, Katie ends up running for congress! But there are a few bumps along the political stump before Katie Holstrom ends up a winner in every way.  

A bump in the road for "The Farmer's Daughter" is when she takes a ride from this bum!

There's a Frank Capra feel to this movie, with populist political attitudes spoon-fed with a bit of cinematic sugar. Message moviemaker Dore Schary produced this film, which may be the reason. It raises the modern eyebrow that a movie made over 75 years ago brings up the issues of a living wage, politicians paying more attention to their donors than constituents, mudslinging, etc. Some things never change!

Don't worry, this "Farmer's Daughter" doesn't dress in hand-me-downs for long!

The topic that always takes over The Farmer's Daughter was Loretta Young's surprise Oscar win in the title role. The consensus was that Rosalind Russell would win, also for RKO, with Mourning Becomes Electra. This was back in the day, when studios swayed their votes toward their own nominees. So, it was a shock that the studio didn't win for their favored nominee. As for the remaining noms, Joan Crawford waited 20 years since arriving in Hollywood to win an Oscar for Mildred Pierce two years before, so she wasn't gonna get a second one two years later for Possessed. Dorothy McGuire, a fine actress, wasn't even nominated for such recent roles in A Tree Grows in Brooklyn, The Enchanted Cottage, or The Spiral Staircase. Frankly, she only got nominated for her leading lady type role in Gentleman's Agreement because it was a "prestige" picture. That leaves Susan Hayward in Smash-Up: The Story of a Woman. Hayward got raves for her first nominated role, but perhaps the insider rumors that the film was a take-off on “beloved” Bing Crosby’s unhappy marriage to alcoholic Dixie Lee hurt her chances. Also, Susan waited as long as Joan to get her first Oscar. 

Loretta Young's surprise Oscar win overshadowed the charms of "The Farmer's Daughter."

That left Loretta Young, in the rare comedy performance that wins an Academy Award.  Was The Farmer’s Daughter an Oscar-winning performance? The short answer is no. But Young is in very good form here, playing with strength, spirit, and good humor as Katie. Her character is not the butt of jokes, and she perseveres and speaks her mind. A scene where Katie practices with a speech from the Morley family’s late senator to practice her English and public speaking is wonderfully done by a subtle Young.

A lovely scene in "The Farmer's Daughter," when Katie reads the late senator's speech.

Though this not being a realistic style film, I wish someone would have asked Loretta to tone down her glamour mask a bit. Ingrid Bergman, the original choice as Katie, certainly would have, as she often did when playing non-glamour roles. When she's asked about her life on the farm, Young's farm girl describes her indoor and outdoor chores in close-up, which is amusing to think of her harvesting crops and livestock in full makeup! Loretta Young could have certainly dialed it back a bit without losing her allure. Loretta had the natural looks that are so coveted and created by cosmetic procedures today: huge cat eyes, full lips, and high, rounded cheekbones. Also, her modest wardrobe is quickly replaced with stylish, form-fitting Edith Head maid frocks and later political outfits.

"The Farmer's Daughter" is the best-dressed maid in the capitol city!

But Loretta Young’s comedic performance is played straight with no winks to the audience. Which makes her character even more endearing, and you will be rooting for her as she goes from farm girl to house maid to political candidate.

Joseph Cotten was underrated during his era as an actor. Often cast for his warm charm, he usually got his best notices when cast as the villain, like Shadow of a Doubt. But his style was very natural in an era when leading men were hyper-masculine, especially post-war when stars like Heston, Lancaster, and Douglas were intense and often anti-heroes. Of course, as Glenn Morley, the politician son from a political family, he is instantly taken by maiden Loretta, which is a bit icky by today's standards. But Cotten pulls it off. Cotten plays the romantic comedy aspect smoothly and is empathetic in the more serious moments.

Joseph Cotten makes a very appealing leading man in "The Farmer's Daughter."

Ethel Barrymore as Cotton’s political matriarch Agatha brings style and droll humor to her role. And Charles Bickford is cast in curmudgeonly mode as the family butler Joseph, who instantly takes to Katie, despite her high spirited ways. Cotton, Barrymore, and Bickford play off each other well as the political household. And they are all charmed in their own way by Katie, who has worked her way into their hearts.

Katie wins the day and election in 1947's "The Farmer's Daughter." Loretta Young
 with Joseph Cotten and Charles Bickford.

As Katie's brawny brothers, James Arness, Lex Barker, and Keith Andes supply the muscle. During the big brawl at the finale, James Arness was indeed a giant of a hero, stacking up the bad guys like fire wood.

As for Loretta's accent, the voice coach who taught Ingrid Bergman to lose her Swedish accent taught Young hers. As for Young's accent, while I'm no expert, it sounded fine without being distracting. Note that Katie’s brothers are accent-free except for a few “yahs.”

These are the brawny brothers of "The Farmer's Daughter":
James Arness, Lex Barker, and Keith Andes.

The naysayers of The Farmer’s Daughter will pick away at the fairytale plot, Loretta's accent, or the politics not being to their liking. Watched with an open mind, it's a charming, bright movie.

As "The Farmer's Daughter," Katie is plain-spoken and often outspoken!