Father's Little Dividend

Plot

In this delightful sequel to 'Father of the Bride,' Stanley Banks (Spencer Tracy) has barely recovered from his daughter Kay's (Elizabeth Taylor) wedding when she and her husband Buckley Dunstan (Don Taylor) announce they're expecting a baby. Stanley must once again confront his anxieties, this time about becoming a grandfather and the financial and emotional implications of this new chapter in his life. As the pregnancy progresses, Stanley's comical neuroses intensify, leading to misunderstandings with his wife Ellie (Joan Bennett) and humorous attempts to prepare for grandparenthood. The film culminates in the joyous birth of his grandchild, where Stanley finally embraces his new role with characteristic warmth and humor.

Historical Background

Released in 1951, 'Father's Little Dividend' emerged during the early Cold War period and the height of the baby boom in America. The film reflected post-war optimism and the renewed focus on family life that characterized American society after World War II. The timing was perfect as millions of Americans were experiencing similar life events, making Stanley's anxieties highly relatable. The film also came during a transitional period in Hollywood, as the studio system was beginning to face challenges from television and changing audience preferences. MGM, as one of the major studios, was still producing glossy, family-friendly entertainment that appealed to mainstream American values.

Making Of

Director Vincente Minnelli approached the sequel with the philosophy that it should stand alone while maintaining the charm of the original. The script went through multiple revisions, with input from all principal actors to ensure character consistency. Spencer Tracy was initially hesitant to reprise his role but was convinced by the quality of the script and the opportunity to work again with Minnelli. The famous scene where Stanley practices changing diapers on a doll was largely improvised by Tracy, showcasing his comedic genius. The production team faced the unique challenge of making a film about pregnancy without using explicit language, relying on clever euphemisms and visual gags that were acceptable for 1950s audiences.

Visual Style

The film's cinematography, handled by John Alton, employed the warm, high-key lighting typical of MGM comedies of the era. Alton used soft focus techniques to enhance the romantic elements while maintaining clarity for the comedic sequences. The camera work emphasized the domestic spaces, creating an intimate, comfortable atmosphere that reflected the film's family themes. Notable techniques included the use of deep focus in group scenes to capture multiple character reactions simultaneously, and carefully composed shots that highlighted the physical comedy elements. The visual style maintained continuity with 'Father of the Bride' while subtly evolving to reflect the film's more mature themes.

Innovations

While not groundbreaking in technical terms, the film demonstrated MGM's mastery of the studio system's efficiency and quality control. The production team successfully maintained visual and narrative continuity with the first film, a significant achievement given the quick turnaround time. The film's use of practical effects for the pregnancy and birth sequences was notably convincing for the period. The sound mixing effectively balanced dialogue, music, and effects to ensure every comedic line landed properly. The costume department achieved the difficult task of concealing Elizabeth Taylor's real pregnancy while maintaining the character's evolving look throughout the film.

Music

The musical score was composed by Adolph Deutsch, who created a light, whimsical soundtrack that perfectly complemented the film's comedic tone. The main theme was a variation of the melody from 'Father of the Bride,' providing musical continuity between the films. Deutsch incorporated playful motifs for Stanley's anxiety episodes and tender themes for the family moments. The soundtrack also featured popular songs of the era that were integrated naturally into the narrative. The music was recorded with the MGM studio orchestra, utilizing the rich sound typical of the studio's productions.

Memorable Scenes

• Stanley's disastrous attempt to practice changing a diaper on a doll, resulting in a comical struggle with safety pins
• The moment Stanley learns he's going to be a grandfather, his face going through multiple stages of shock and panic
• The hospital waiting room sequence where Stanley's anxiety reaches its peak, pacing and worrying while waiting for the birth
• The touching final scene where Stanley holds his grandchild for the first time, his earlier fears melting away into pure joy
• The dinner scene where the pregnancy is announced, with Stanley's comical overreaction to the news

What Critics Said

Contemporary critics praised the film for maintaining the charm and humor of its predecessor. The New York Times' Bosley Crowther wrote that 'the magic of the first picture is still here' and particularly lauded Spencer Tracy's performance. Modern critics view the film as a rare successful sequel from Hollywood's golden age, with many noting how it avoids simply repeating the original's formula. The film holds a 100% rating on Rotten Tomatoes based on critical consensus, with reviewers highlighting its warmth, humor, and the chemistry between the cast members.

What Audiences Thought

Audiences embraced the film enthusiastically, making it one of the top-grossing pictures of 1951. Moviegoers particularly appreciated seeing their favorite characters return in a new, relatable situation. The film's themes of family, aging, and the cycle of life resonated strongly with post-war American audiences who were experiencing similar life transitions. The movie's success led to increased demand for family-oriented comedies and helped establish the 'family sequel' as a viable commercial genre. Many viewers reported that they found Spencer Tracy's portrayal of an anxious grandfather both hilarious and touching.

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