Boisterous and highly enjoyable comedy written by the prolific and talented Garson Kanin and filmed by his regular collaborative director George Cukor, "Born Yesterday" showcases the talent of comedienne Judy Halliday to superb, or should that be "supoib" effect, so much so that she won the Oscar that year (over Gloria Swanson, no less in another Holden-starring feature, the great "Sunset Boulevard").
The story roughly adapts the old Pygmalion / Eliza Doolittle story, a sort of educating Billie, as mobster boss Broderick Crawford, with a finger in every pie and a bought-and-paid-for congressman in his pocket comes to Washington to expand his operation along with his dutiful attorney and tie up another major crooked deal. Staying in the best hotel suite in town, also in tow is his eye-candy "dumb blonde" fiancée played by Halliday, who is pressed for tax reasons into being a silent partner in Crawford's business empire and who duly signs every dodgy contract he places in front of her.
After Crawford bumps into William Holden's journalist, to amuse Billie and get her to better fit in with the higher class of the town's corrupt cognoscenti, he offers Holden the gig to educate her, which Holden does by bringing her books and teaching her history through visits to some of the capital's national monuments. A little knowledge as they say is a dangerous thing and it's not long before Halliday and Holden become an item and, even worse for Crawford, his bimbo doormat literally wises up to her situation and naturally rebels.
A good example of a stage play which cleverly belies its origins by having Holden and Halliday doing the town, the film nevertheless stands or falls on characterisation and dialogue and thankfully it's a winner in both respects. Halliday is a delight as the slowly dawning, now bespectacled former-airhead, seizing with relish on every new word or iota of information she absorbs and with a particular way with a put-down ("Vice-versa!") when she and Crawford are in full argumentative flow. Crawford too is a hit as the boorish kingpin, although I didn't like seeing his character revert to using his hands to get the upper hand over her, so to speak, even as I appreciate the scene's importance as a plot-point given that it actually signals the end of his sway over her. Holden too is fine in the kind of part Jack Lemmon would later make his own as the reliable if slightly put-upon regular guy who becomes Billie's ally.
While the screenplay may slightly overdo its promotion of American capitalism and democracy to signpost Billie's awakening and at the same time, demonise Crawford's criminality, it's still a fast-paced, sharply-drawn and well-realised contemporary comedy with a political edge. There's an interesting real-life postscript too, in that when the left-leaning Halliday was later called by the House Of Un-American Activities to testify before them and name names, she invoked the empty-vessel Billie Dawn character under interrogation to cleverly avoid giving up her friends. Crazy like a fox, indeed.
The story roughly adapts the old Pygmalion / Eliza Doolittle story, a sort of educating Billie, as mobster boss Broderick Crawford, with a finger in every pie and a bought-and-paid-for congressman in his pocket comes to Washington to expand his operation along with his dutiful attorney and tie up another major crooked deal. Staying in the best hotel suite in town, also in tow is his eye-candy "dumb blonde" fiancée played by Halliday, who is pressed for tax reasons into being a silent partner in Crawford's business empire and who duly signs every dodgy contract he places in front of her.
After Crawford bumps into William Holden's journalist, to amuse Billie and get her to better fit in with the higher class of the town's corrupt cognoscenti, he offers Holden the gig to educate her, which Holden does by bringing her books and teaching her history through visits to some of the capital's national monuments. A little knowledge as they say is a dangerous thing and it's not long before Halliday and Holden become an item and, even worse for Crawford, his bimbo doormat literally wises up to her situation and naturally rebels.
A good example of a stage play which cleverly belies its origins by having Holden and Halliday doing the town, the film nevertheless stands or falls on characterisation and dialogue and thankfully it's a winner in both respects. Halliday is a delight as the slowly dawning, now bespectacled former-airhead, seizing with relish on every new word or iota of information she absorbs and with a particular way with a put-down ("Vice-versa!") when she and Crawford are in full argumentative flow. Crawford too is a hit as the boorish kingpin, although I didn't like seeing his character revert to using his hands to get the upper hand over her, so to speak, even as I appreciate the scene's importance as a plot-point given that it actually signals the end of his sway over her. Holden too is fine in the kind of part Jack Lemmon would later make his own as the reliable if slightly put-upon regular guy who becomes Billie's ally.
While the screenplay may slightly overdo its promotion of American capitalism and democracy to signpost Billie's awakening and at the same time, demonise Crawford's criminality, it's still a fast-paced, sharply-drawn and well-realised contemporary comedy with a political edge. There's an interesting real-life postscript too, in that when the left-leaning Halliday was later called by the House Of Un-American Activities to testify before them and name names, she invoked the empty-vessel Billie Dawn character under interrogation to cleverly avoid giving up her friends. Crazy like a fox, indeed.