It is not as philosophical as DEATH TAKES A HOLIDAY or as amusing as MIDNIGHT or EASY LIVING or as well done as an historical film KITTY, but THE MATING SEASON represents the last time that Mitchell Leisin got a good film with at least one first rate performance in it - that of the fourth lead, Thelma Ritter.
Her role is that of the mother of John Lund. Lund is a junior executive in a mid-western firm owned by Larry Keating, and has owed all of his success as a result of his mother's sacrifices to get him a good education (in New York University, of all places). Ritter did it alone (Lund's father died of alcoholism years earlier). But to do it has taken a toll - her hamburger joint is foreclosed on at the start of the film, and she is not really happy about telling her son about this, especially as he has just met and married Gene Tierney, who is a more glamorous, and socially more classy type than Lund is used to.
Still she comes to the apartment of Lund and Tierney. The latter is expecting people answering her advertisement for a cook and house keeper. Before Ritter can straighten out her misconception, Tierney hires Ritter for the job. She starts right in, and since that night there is a major party for Keating and the executives of Lund's firm (including Keating's son, James Lorimer, as a particularly obnoxious snob), Tierney puts her to work immediately. The party is doing well until a double disaster occurs: Lorimer causes Keating to get covered by some food, and Lund discovers who is doing the first rate cooking they have been partaking in.
Keeping quiet, but with a growing sense of fear of discovery, Lund watches for an opportunity to speak to Ritter. Meanwhile she helps to quickly clean up Keating, and to point out that he should wear a lighter type of suit for his appearance. It is the start of Keating taking a serious interest in Ritter.
Despite what Lund wants, he never has any chance to straighten the error out. This is especially true when Tierney's obnoxious mother (Miriam Hopkins) shows up. To Hopkins a servant is useful but not to be heard (except if speaking in the most respectful tones). Hopkins does not care much for Lund for his background, despite his attempts to earn a living to support her daughter (whom he loves). And when she overhears and sees certain behavior at night, she is sure that her son-in-law is a sexual weirdo.
The film is an interesting study in social climbing and snobbery. Lund wants to ascend to high executive position based on his abilities, and finds Lorimer gleefully standing in his way (for personal reasons - he liked Tierney too). His hesitancy is partly due to circumstances, but also it is embarrassing to him to admit his mother was a professional cook. Hopkins is a scatterbrained twit, who has met some interesting people (including Benito Mussolini) and been asked to write her memoirs. The worst snob is Cora Witherspoon, as the wife of a businessman from Maryland who is interested in dealing with Keating's firm. She looks down upon people for laughing too loud! In the end the ones who are least snobby are Keating (who cant' stand his son as a result), Ritter, and Tierney.
Ritter has the best lines in the film, delivered in that wonderful understated, realistic way that was all her own. Hopkins, in comparison, is all flamboyance and pose, but makes the most of her histrionics. Tierney has two great moments telling off two characters for their character flaws, and Keating's dry wit nicely augments the roles of the others. Only Lund seems too stiff at times - about this time some of the naturalistic abilities he showed in TOO EACH HIS OWN and MISS TATLOCK'S MILLIONS and A FOREIGN AFFAIR began to fossilize into a personal stuffiness. But he too rises at the conclusion in a final confrontation to prove he is not a total snob.
It was the best ensemble acting of the final Leisin films, even having a whiff of recognition from an earlier one (some of "Mona Lisa", first played in CAPTAIN CAREY, U.S.A. is played towards the end). Leisin had, reportedly, problems controlling Miriam Hopkins in the filming. Maybe, but the final result was still pretty good for all the trouble.
Her role is that of the mother of John Lund. Lund is a junior executive in a mid-western firm owned by Larry Keating, and has owed all of his success as a result of his mother's sacrifices to get him a good education (in New York University, of all places). Ritter did it alone (Lund's father died of alcoholism years earlier). But to do it has taken a toll - her hamburger joint is foreclosed on at the start of the film, and she is not really happy about telling her son about this, especially as he has just met and married Gene Tierney, who is a more glamorous, and socially more classy type than Lund is used to.
Still she comes to the apartment of Lund and Tierney. The latter is expecting people answering her advertisement for a cook and house keeper. Before Ritter can straighten out her misconception, Tierney hires Ritter for the job. She starts right in, and since that night there is a major party for Keating and the executives of Lund's firm (including Keating's son, James Lorimer, as a particularly obnoxious snob), Tierney puts her to work immediately. The party is doing well until a double disaster occurs: Lorimer causes Keating to get covered by some food, and Lund discovers who is doing the first rate cooking they have been partaking in.
Keeping quiet, but with a growing sense of fear of discovery, Lund watches for an opportunity to speak to Ritter. Meanwhile she helps to quickly clean up Keating, and to point out that he should wear a lighter type of suit for his appearance. It is the start of Keating taking a serious interest in Ritter.
Despite what Lund wants, he never has any chance to straighten the error out. This is especially true when Tierney's obnoxious mother (Miriam Hopkins) shows up. To Hopkins a servant is useful but not to be heard (except if speaking in the most respectful tones). Hopkins does not care much for Lund for his background, despite his attempts to earn a living to support her daughter (whom he loves). And when she overhears and sees certain behavior at night, she is sure that her son-in-law is a sexual weirdo.
The film is an interesting study in social climbing and snobbery. Lund wants to ascend to high executive position based on his abilities, and finds Lorimer gleefully standing in his way (for personal reasons - he liked Tierney too). His hesitancy is partly due to circumstances, but also it is embarrassing to him to admit his mother was a professional cook. Hopkins is a scatterbrained twit, who has met some interesting people (including Benito Mussolini) and been asked to write her memoirs. The worst snob is Cora Witherspoon, as the wife of a businessman from Maryland who is interested in dealing with Keating's firm. She looks down upon people for laughing too loud! In the end the ones who are least snobby are Keating (who cant' stand his son as a result), Ritter, and Tierney.
Ritter has the best lines in the film, delivered in that wonderful understated, realistic way that was all her own. Hopkins, in comparison, is all flamboyance and pose, but makes the most of her histrionics. Tierney has two great moments telling off two characters for their character flaws, and Keating's dry wit nicely augments the roles of the others. Only Lund seems too stiff at times - about this time some of the naturalistic abilities he showed in TOO EACH HIS OWN and MISS TATLOCK'S MILLIONS and A FOREIGN AFFAIR began to fossilize into a personal stuffiness. But he too rises at the conclusion in a final confrontation to prove he is not a total snob.
It was the best ensemble acting of the final Leisin films, even having a whiff of recognition from an earlier one (some of "Mona Lisa", first played in CAPTAIN CAREY, U.S.A. is played towards the end). Leisin had, reportedly, problems controlling Miriam Hopkins in the filming. Maybe, but the final result was still pretty good for all the trouble.