[Quick Summary: When her 39 yr. old newspaper editor husband quits his job to join the army, his wife finishes her Hollywood screenwriting job and joins him.]
Recently, I read an interview with screenwriter Garson Kanin, a three time Oscar nominee with his wife Ruth Gordon* (A Double Life, Adam's Rib, Pat & Mike).**Given those two writers' long partnership, and that they liked to write about partnerships, it still was a surprise to see a great partnership on the page.
And that is why I think this kind of script is still interesting and relevant. How does the couple cope with self-doubt? Conflict? Obstacles?
I think it helped that the couple was three dimensional and set up for success:
- They are both writers (she's an author & screenwriter; he's newspaper writer).
- They have similar values (believe in making a difference).
- They have goals, though different. He joins the army so that he can speak to real policy issues later. She keeps the home afloat until her next job.
Also, there were also many examples of what one relationship expert termed "fondness and admiration," i.e., appreciating and cherishing the other person:
Ex. 1: Max is asked to write for army newspaper, but has been vacillating in doubt.
Polly comes to the sofa. But before she can reach it, Max swings his feet off again, almost hitting her.
MAX: But that's up to me, isn't it? Whether I get dragged into a controversy or not - is up to me! Suppose I write it - and forget it - absolutely forget it!
POLLY: If you can, darling, that's --
MAX (jumping up): Sure I can! Why can't I?
POLLY: Max - I'm on your side!
MAX: Where's the typewriter, darlin?
POLLY (flying for the typewriter): Hurray! We've decided! [Note that she says "we."]
Ex. 2: Polly has been secretly on an editorial deadline for Gow, Max's ex-boss.
In the next frantic second, she glares down at her work, shoves a few papers together - then runs for Max. Then Polly and Max are seen together as she comes rushing into his arms.
POLLY: Darling! What a surprise! How long can you stay?
MAX: Just long enough to press my pants. (Indicating the table) What are you doing?
POLLY (nervously) Oh. Well, Joel Nixon finally caught up with me. I mean - the script. I've got to make some changes. He's been phoning from Hollywood like a maniac.
MAX (leaving her; taking a few steps toward the table): My gosh - you've really been working! Look at the place.
POLLY (getting around in front of him): Well, I'm doing it against time, Max. The picture's shooting now. Your pants, sweetheart. Take 'em off. I-I'll get the board ready (She pushes him in the direction of the bedroom.)
MAX: You don't look as if you've slept.
POLLY: Yes, I have - as much as I need. Go on. Go on.
MAX: Gee, honey - that's too bad. [This is a writer empathizing with another writer.]
WHAT I'VE LEARNED: I rooted for Polly and Max, in great part because I believed in their partnership
Over Twenty One (1945)
by Sidney Buchman
Adapted from the play by Ruth Gordon
*Yes, that Ruth Gordon, of Harold and Maude (1971) and Rosemary's Baby (1968) fame. However, my first encounter with her work was as a murderous mystery writer on a Columbo tv show episode.
**Interestingly, they STOPPED writing together afterwards because it didn't work for them any longer!
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