If you ever wanted an example of just how significantly movie censorship could date a film, check out The Facts Of Life (TFOL) from1960. Incorporating plot aspects that were put to much better creative use earlier by David Lean in Brief Encounter and during the same year by Billy Wilder in The Apartment, TFOL also ventured (not always successfully) into one of the most difficult of film genres---dramatic comedy. Had the strictures of censorship not worked against this light tale of how love may not always conquer all when the principals are middle aged and married to other spouses, TFOL might have reached a higher achievement. See, e.g. Jonathan Demme's more acclaimed attempt at dramatic comedy in Something Wild. As it is, the plot of TFOL lurches from one improbable situation to another, because existing censorship restrictions made it difficult to permit a dimension of reality to intrude upon the story and make it more believable. Too bad, because TFOL presented us with a potentially interesting opportunity to better satirize a social class and it would have lent itself easily to such treatment.
Part of the problem with TFOL is the physical disconnect between the two principal actors. When the film was released, Lucille Ball was a still glamorous 49 year old woman who could easily be believable as an object of desire by someone like the Bob Hope character. However, Hope was then a not particularly attractive 57 year old man and visually well past his prime of life. Ball shines by creating a very appealing and engaging part, while Hope seems to have some difficulty trying to keep up with her. In the end, this was just one more plot element to detract from the film's reality---much like the pairing of Humphrey Bogart with Audrey Hepburn as an exemplary romantic couple in the comedy Sabrina.
Ball proved in The Big Street just how talented and competent she was when playing a straight part in a dramatic comedy. On the other hand, Hope in the very few opportunities he was offered to do much the same thing never seemed nearly as believable. See, e.g. Beau James and The Seven Little Foys. However, both Ball and Hope excelled in creating their own unique brand of pure comedy, as evidenced by two truly remarkable show business careers.
As previously mentioned, dramatic comedy is a tough genre to pull off well. There are just too many opportunities to encounter conflicting situations and internal inconsistencies. See, e.g. Muriel's Wedding. However, TFOL is ultimately saved by the great chemistry Ball and Hope always shared with each other. It is a shame that they were not given the chance to make this film 20 years earlier.
Part of the problem with TFOL is the physical disconnect between the two principal actors. When the film was released, Lucille Ball was a still glamorous 49 year old woman who could easily be believable as an object of desire by someone like the Bob Hope character. However, Hope was then a not particularly attractive 57 year old man and visually well past his prime of life. Ball shines by creating a very appealing and engaging part, while Hope seems to have some difficulty trying to keep up with her. In the end, this was just one more plot element to detract from the film's reality---much like the pairing of Humphrey Bogart with Audrey Hepburn as an exemplary romantic couple in the comedy Sabrina.
Ball proved in The Big Street just how talented and competent she was when playing a straight part in a dramatic comedy. On the other hand, Hope in the very few opportunities he was offered to do much the same thing never seemed nearly as believable. See, e.g. Beau James and The Seven Little Foys. However, both Ball and Hope excelled in creating their own unique brand of pure comedy, as evidenced by two truly remarkable show business careers.
As previously mentioned, dramatic comedy is a tough genre to pull off well. There are just too many opportunities to encounter conflicting situations and internal inconsistencies. See, e.g. Muriel's Wedding. However, TFOL is ultimately saved by the great chemistry Ball and Hope always shared with each other. It is a shame that they were not given the chance to make this film 20 years earlier.