User Reviews

BING CROSBY gives his all to the role of a washed up actor fixated on guilt (and the bottle) while GRACE KELLY and WILLIAM HOLDEN give even finer performances as the two people who quarrel over how to reform his guzzling ways.

The weakness here is not the script. It's the dull musical numbers assigned to Crosby, who carries them off in the usual amiable Crosby manner, before he reverts to character as Frank Elgin. Nevertheless, when he's down and out, he gives a very painfully convincing portrait of a weak alcoholic man who shifts all of the blame to his wife. I suspect Clifford Odets may have based his portrait of this weak man on actor Frank Fay (once married to Barbara Stanwyck), whose career was destroyed by alcoholism and who depended on breezy charm for his appeal.

There are some really searing scenes between Kelly and Holden, fireworks that never seem less than realistic as a result of two completely realized characters that come to life in a well-written script. Holden is particularly fine in a difficult, demanding role that forces him to gradually shift his sympathy as he realizes who the real culprit is. His performance is the strongest of the three stars.

Grace Kelly subdues her aristocratic ways (and her prissy affected manners and voice) to play a woman who knows what the truth is behind her husband's weakness. She looks as forlorn and beaten as the script requires, always completely in touch with her character's moods and feelings. There are little nuances all along that show what a fine actress she could be under superb direction and given some brilliant dialog.

Fascinating as a portrait of theater people, but a letdown whenever it strays into the producing of a show that looks to be as feeble as any amateur production could be with hopes of becoming Broadway bound.

Neverthelss, a gritty, searing, truthful drama that is well worth watching for the performances alone.

More backstage melodrama than morality tale on the perils of drink, "The Country Girl" is watchable but only occasionally gripping entertainment, perhaps because it lacks the perfect casting that made the James Mason / Judy Garland "A Star Is Born" such a superior film. For me casting one of the leads against type can be considered daring but two seems reckless and for all that it was Crosby and Kelly who got the main acting plaudits, it's William Holden's ever reliable character-work which for me centres and grounds the film, if not quite catapulting it into the "classic" firmament for which it so earnestly strives.

For one thing I couldn't believe Kelly as the downtrodden frump she appears to be here and for another Crosby, while you can see him really trying (part of the problem) never convinced me at any time that he was a drunk in the way that Ray Milland did so well in "The Lost Weekend".

I found the plot unconvincing too, with the melodramatic motive for Crosby's actions overplayed, the triangular affair when Holden falls for Kelly seemingly coming out of nowhere, while the musical interludes by the celebrated Harold Arlen and Ira Gershwin sound some way off their best work, unlike some of the great songs in the aforementioned Garland movie.

All the same, as you'd expect from award-winning playwright Clifford Odets, there are some telling lines amongst all the exchanges (this is a very talky film), I liked the way Crosby's significant flashback was delayed until over 30 minutes into the film and the long cutaway shot at the conclusion makes for an effective finish. In the end though, this country girl needed a bit more air to really come alive, although some tribute is due to the producers for tackling a largely taboo subject in Hollywood.

Stage director William Holden fights with his producer over casting alcoholic-on-the-mend singer Bing Crosby as the lead in their newest musical production; Crosby's wife Grace Kelly, a no-nonsense type who dresses glumly, appears to be Crosby's rock but may in fact be what's crippling him. Peculiar melodrama is absorbing and interesting, well-paced and literate, but is also show-offy and fairly shallow. Everyone is unnaturally tense and forlorn, and the spirit of the piece is held back to showcase all the angst. Kelly won a Best Actress Oscar, and although her acting is solid, it's a clichéd part (one waits for her to make that visible transformation, and it happens right on cue; though to credit the filmmakers, a big fuss isn't made of it). Crosby was an odd choice for the role of the former star on the comeback trail; his style of acting is resolutely old-fashioned and, although he does good work, he looks so much older than Holden and Kelly--and his general style is older still--his performance sequences seem distinctly out-of-touch (even for 1954). Holden is the acting stand-out (he was the only one of the three leads not Oscar-nominated), and his innate grit and conflict are something the viewer can get a grip on; Holden immediately connects with the audience because he is completely focused and seems to bring this mannered material back down to earth (he makes it mean something). The plot functions are square and uptight, and the musical production within the film looks pretty hoary, but the drama and human interaction is still worthwhile on a soap opera level. **1/2 from ****

It has long been assumed that, had the music been eliminated from "The Country Girl" and, in the process, taking emphasis off Bing Crosby's singing and more on his acting, he would have certainly beaten Marlon Brando for the Oscar of 1954. Crosby is extraordinary in this film, playing an alcoholic, washed-up actor/singer with few if any redeemable qualities. William Holden, as the director of a new Broadway musical, insists that Bing be cast in the lead role, even though he is painfully aware of the actor's history. Grace Kelly is Bing's misunderstood wife. While all three performances are first rate, it is Crosby who stands so far above the others, especially considering Hollywood's idea of realism in 1954. Kelly, on the other hand, who DID win an Oscar as best actress, seems workmanlike but not of that acting calibur. Miss Kelly was such a glamorous "star" that simply putting her in a frumpy housedress does not a plain and ordinary housewife make! Her last scene, in which she appears in a very elegant evening gown (but with glasses to downplay her beauty) is completely unconvincing. But, taken as a whole, "The Country Girl" is great video viewing!

Bing Crosby, Grace Kelly and William Holden star in "The Country Girl," a 1954 film written and directed by George Seaton, based on the play by Clifford Odets. Crosby plays Frank Elgin, a former Broadway star who hit the skids after the death of his son ten years earlier. Kelly is his wife, Georgie, and Holden is Bernie Dodd, the director of a musical that he has determined will be Frank's comeback. I think it was asking a lot of any performer, no matter how great, to make this Oklahoma rip-off a hit, but Dodd thinks Frank is his man. Dodd takes an immediate dislike to Georgie, who reminds him of his ex-wife. He believes that Frank's dependence on her and helplessness was encouraged by her. Little does he know, Frank puts on a happy face, but in reality, he's lying to Dodd about his true relationship with Georgie and the reason for his fall from grace.

The very strong script is brilliantly acted by its three stars, and for each actor, it was probably their best role. Crosby is not only terrific, but he's a revelation as the alcoholic, weak Frank; Holden pulls out all the stops as the uptight Bernie Dodd; and Kelly is excellent as Georgie. There is still much controversy about whether or not she should have won the Oscar over Judy Garland in "A Star is Born," but anyone who has studied the Oscars knows one thing - whether Kelly deserved the award or not, every time a beautiful woman dresses down and makes herself look plain, she wins an Oscar - Elizabeth Taylor, Nicole Kidman, Charlize Theron - the list is endless. It's sure fire. Personally, I think Kelly is great in this, and they should have done without the glasses - the fact that she and Frank were too poor for her to afford nice clothes or hair dye would have been enough. Beauty is beauty, and you can't hide it behind a pair of glasses. And what was wrong with Frank being married to a beautiful woman? In one flashback, we're allowed to see her as she was. I'll go out on a limb and say that as much as I loved Judy in "A Star is Born," Georgie Elgin was a real stretch for Kelly.

Beautifully directed by Seaton, "The Country Girl" has a real feel of the theater, of internal fights between producer and director, of dressing rooms and hotels on the road.

An excellent movie all around.

The main thing that one will notice about "The Country Girl" is the unusual roles given to Bing Crosby and Grace Kelly. His Frank is a depressed alcoholic, her Georgie is the unglamorous wife (well, unglamorous by Grace Kelly's standards). And then there's William Holden's Bernie. He's the director of a musical production, convinced that Georgie is the reason for Frank's alcoholism, and intent on making her life a living hell.

It was rare for a movie back then to focus on misogyny. I found the scenes in which Bernie berates Georgie to be the most effective in the movie. They were certainly intense. The musical scenes were corny, but the rest of the movie made up for those. As to the question of whether Grace Kelly's performance merited an Oscar win over Judy Garland's performance in "A Star Is Born", I actually found this to be the more important movie; it focuses on a more serious issue.

So, it's not the greatest movie ever made but I still recommend it. Just remember that Crosby's and Kelly's roles are not like what we're used to.

I accidentally came across this movie on a classic movie channel and decided to watch. I have never considered Bing Crosby or Grace Kelly to be academy award winning actors, and I knew little of William Holden's acting abilities. I was both surprised and moved to tears in watching the compelling performances of these actors. I forgot that they were the "stars" and only saw them as the desperate individuals that they portrayed. I also realized that scripts like those no longer appear in contemporary films. Each word chosen for it's precision, poignancy and heart. Also surprising is how well the disease of alcoholism was understood even at that time, although there are sadly still many in society today who lack that level of sophistication to fully comprehend the agonizing aspects of alcoholism both to the individual addict and his family. Brilliantly performed by all! Thank you.

Bing Crosby's career reached its dramatic heights in The Country Girl. In fact the trio of Crosby, Grace Kelly, and William Holden all hit incredible highs with this one. Clifford Odets's play was a good backstage drama without any great political statement that characterized his earlier work

It would be another three years before Bing Crosby would do a film without singing at all. But for those who've never seen the Odets play, the story is one without any music. Crosby's role on Broadway was originated by Paul Kelly. When Paramount bought the screen rights they had Harold Arlen and Ira Gershwin write the songs that Crosby sings in The Country Girl. Curiously enough none of them, good that they were, became any kind of hit for Bing. Also this was Ira Gershwin's last score for either the stage of screen.

It's fitting that Grace Kelly won her Oscar for this part. Uta Hagen who played Georgie Elgin on Broadway won a Tony for her performance. Kelly was up against some stiff competition that year and upset the betting favorite Judy Garland for A Star Is Born. Other nominees included Dorothy Dandridge for Carmen Jones, Jane Wyman for Magnificent Obsession and Audrey Hepburn for Sabrina. I suppose it was the fact that Kelly was cast against type in her portrayal. Usually playing chic blonde princesses, she's almost dowdy looking in this film.

Crosby plumbed some dramatic depths also and was nominated for Frank Elgin. However after three successive years of being nominated and not winning, Marlon Brando was not going to be denied in 1954. The rest of that field included Humphrey Bogart for The Caine Mutiny, James Mason for A Star Is Born and Dan O'Herlihy for Robinson Crusoe. Not a shabby field there either and Crosby's personal best came up against Brando's consolation for not winning for Streetcar Named Desire. Oscar politics at its finest.

Bill Holden's part of Bernie Dodd was originated on Broadway by Steven Hill who today's audiences know as DA Adam Schiff from Law and Order. After years of playing what he called "Smiling Jim" roles, his acting took on some bite with Sunset Boulevard. He's a cynical man here also, but there was an additional edge here. One of the plot elements was alcoholic Crosby knowing about Holden's bad marriage and using that knowledge to blame his bad behavior on Kelly. Holden was in the midst of a bad marriage himself, the only one he ever had. Marked by bitterness, recriminations, and mutual infidelities, he and Brenda Marshall stayed married for over 20 years for the sake of their children. When Holden's Bernie Dodd talks about his former wife there's an edge that I'm sure came from personal experience.

The only other role of any size is that of producer Phil Cook and it's played Anthony Ross. Another plot element is Holden's championing Crosby going head to head a few times with Ross who never really wanted him in his show. One of Ross's condition to using Crosby is that he given a contract with a two weeks notice clause and not a run of the play contract. Ross gets hoisted on his own petard for that one. Sadly this was Ross's last film, he died the following year.

The Country Girl is mature and intelligent and avoids the usual Hollywood clichés concerning show business stories. Even if you're not a fan of any or all of its three stars, this can be enjoyed on its artistic merits.

Bing Crosby, Grace Kelly, & William Holden all give what I consider to be their best performances. Crosby plays a neurotic drunk, and is just unbelievable. Or should I say is quite believable. I didn't know he could act, but can he ever. Grace Kelly is his frumpy wife. Not her usual type-cast character, either. Even though it's pretty much a forgotten film, a must-see for classic movie fans.

The Country Girl is the movie for which plain, dowdy-looking Grace Kelly received an Oscar. Now wait just a minute. Plain, dowdy-looking Grace Kelly? Yes in that regard this is a movie which requires some serious suspension of disbelief. Aside from one brief flashback sequence in which she is seen in all her vibrant, ravishing glory this movie takes great pains to hide Kelly's beauty away under plenty of aging makeup and frumpy clothing. She's still the most beautiful plain-looking woman you've ever seen though. Anyhow Kelly and her two co-stars Bing Crosby and William Holden combine to produce a thoughtful, entertaining and enjoyable movie. It's three top stars in top form.

While the film's title would seem to place the focus on Kelly's character it is really Crosby's role around which the plot is centered. He plays down-on-his-luck alcoholic stage actor Frank Elgin. He's a faded star who desperately needs a job but could he actually handle one? He's exceptionally fragile and almost totally unreliable. Yet when director Bernie Dodd, as played by Holden, needs an actor for the all-important lead role in his new musical production he insists that Frank Elgin is his man. Dodd's producer strenuously objects and Frank himself has serious doubts as to whether he can pull this off. But Frank gets the part. However Dodd will soon find that there is a big problem. If you get Frank you get his wife Georgie as part of the deal too. This cold, controlling woman has Frank under her thumb and as the production struggles and stumbles towards opening night she's going to make things difficult for everyone.

In playing Georgie, a character so unlike those she would typically play, Kelly was given quite a unique opportunity and she certainly made the most of it. It's a powerful, emotionally charged performance. Georgie is a complex character, perhaps a misunderstood one. You may be asking yourself questions about the character. Who is she really? But no need to ask questions about the actress. Kelly is utterly convincing and terrific throughout. Crosby does very well with a very dramatic part. Yes he gets to croon a few tunes but they're not particularly memorable and that's not what the part is about. It's about all the insecurities that make Frank Elgin who he is. And Crosby captures the character's weak-minded personality beautifully. Whereas Kelly and Crosby have to venture far outside of their respective comfort zones Holden has what by comparison would seem an ordinary part to play. But he is notably excellent as well. He may not have had the same kind of challenges Kelly and Crosby did but he knew what he had to do and he did it very well. All in all it's a brilliantly acted film. The story takes a little while to get going but it's a smart tale, one with a few surprises along the way. Not all the surprises work perfectly. There's a shift in feelings for some of the characters near the end which comes out of nowhere and is not particularly believable. It threatens to erase much of the goodwill the film has built up. But things manage to get back on track leading up to a satisfying conclusion to a satisfying film. Three great stars, three great performances, hard to go wrong with that.

All the other comments here-on the quality of the three leads' acting, the somberness of the film, the plot, etc--I agree w/ pretty much. For me the standout was not Grace but Bing. He was cast vs type the most and if anyone deserved an oscar here, it was him. Grace was fine, but still-it's like seeing Michelle Pfieffer or Theresa Russell playing frumpy-it don't really work.

Typical solid 50's dramatics, Holden in his element as always, very believable.

***1/2 outta ****

A plain reason why I arouse my interest in this film is the controversy of Grace Kelly's Oscar win over Judy Garland in A STAR IS BORN (1954), according to trivia report, a narrow 6 votes altered the result for the jinxed Ms. Garland, who had the best shot in her entire lifetime. But on the other hands 1954 is the prosperous year for Ms. Kelly, with cinema chef-d'oeuvres like REAR WINDOW, DIAL M FOR MURDER, her final victory is quite plausible, just imagine if the prolifically marvelous Jessica Chastain had won over her co-star Octavia Spencer for THE HELP (2011) this year, I doubt there would be a big fuss about it.

The film is an adaption of Clifford Odets' most famous play, about a drunkard singer-actor's revival of his plummeting career against his insecurity and impotence for responsibility after a wretched family tragedy. Judging by the title, his wife, a devoted, morally dignified woman, is the linchpin, a paragon wife, undergoes all her tribulation from her husband and at last procures the affection of another man, a divorced director in the Broadway coterie.

The 3-triangle team is the backbone of the film, this is my first film starring Bing Crosby, who has a showier role than his co-star Holden, Crosby manifests his talent in dramas, but his role has been overshadowed by Holden and Kelly's showdown, thanks to the self-degrading makeup skill, Grace Kelly sacrifices her beauty and morphs into a woman under the family trauma but still holds steady of her self-respect, William Holden's double-chin hasn't stopped him from being a complete charmer during the sex battle despite of the ambiguous mutual attraction stunt is a turn-off.

PS. I'm no stylist, but Bing Crosby's high waist pants are torturing my eyes when they constantly pop up on the screen, I may not be a fashion follower, but this instance speaks for itself of the importance of not looking ludicrous on the celluloid. Likewise, the film has a setback to be digested by a modernized audience, and by far Judy Garland has still been my win in the race.

In the ranking of American playwrights Clifford Odets is usually placed in the second tier behind Eugene O'Neill, Arthur Miller, Lillian Hellman and Tennessee Williams. His output was something less than theirs and his two best-known plays, Waiting for Lefty and The Country Girl, never quite reached the artistic pinnacle of say, Miller's Death of a Salesman or Williams's A Streetcar Named Desire. Nonetheless as a movie The Country Girl is a brilliant piece of work thanks in part to a fine adaptation by director and screenwriter George Seaton (Oscar for best screen adaptation, 1954) and sterling performances by Grace Kelly, Bing Crosby and William Holden. Seeing this for the first time I was almost as much impressed by Holden, who played a part very much in keeping with his character and with other parts he has played, as I was by Kelly and Crosby who both did 180 degree turns in type-casting.

Grace Kelly won an Oscar as the faithful, strong-willed, bitter, dowdy co-dependent wife of crooner Crosby who played a whimpering, guilt-ridden alcoholic. You have to see Grace Kelly in the bags-under-her-eyes make-up and spinster get-ups to believe it. She looks at least ten years older than her 25 years with a sour puss of a face and an attitude to match. I think she won best actress (over Judy Garland in A Star Is Born) partly because her appearance was so stunningly...different. (While I'm musing, I wonder if this was the film of hers that was banned in Monaco.) It would seem to be the height of creative casting to put her into such a role, yet she is excellent, wonderful to watch as always, her timing exquisite, her expression indelible, and her sense of character perfect. When she says to Holden, "You kissed me--don't let that give you any ideas," and then when we see her face after he leaves, loving it, we believe her both times.

Bing Crosby too is a sight to behold in what must have been his finest 104 minutes as a dramatic actor. He too played way out of character and yet one had the sense that he knew the character well. He was absolutely pathetic as the spineless one. (In real life Der Bingo was reportedly a stern task master at home--ask his kids.) Clearly director Seaton should be given some of the credit for these fine performances. When your stars perform so well, it's clear you've done something right.

The production suffers--inevitably, I suppose--from the weakness of the play within the play. Crosby is to be the star of a Broadway musical called "The Land Around Us." (What we see of the musical assures us it's no Oklahoma!) He's a little too old and stationary for the part, but of course he sings beautifully. (Painful was the excruciatingly slow audition scene opening the movie with Crosby singing and walking through a thoroughly boring number.) Holden is the director and he is taking a chance on Crosby partly because he believes in him and partly because he has nobody else. Naturally if Crosby returns to the bottle, everything will fall apart.

What about the nature of alcoholism as depicted by Odets? Knowing what we now know of the disease, how accurate was his delineation? I think he got it surprising right except for the implied cause. Crosby's character goes downhill after the accidental death of his son, which he blames on himself. Odets reflects the belief, only finally dispelled in recent decades, that alcoholism was indicative of a character flaw, as he has Crosby say he used his son's death as an excuse to drink. Today we know that alcoholism is a disease, a chemical imbalance. Yet Odets knew this practical truth (from the words he puts into the mouth of William Holden's character): an alcoholic stops drinking when he dies or when he gives it up himself. It is interesting to note that as a play The Country Girl appeared in 1950, the same year as William Inge's Come Back, Little Sheba, which also dealt with alcoholism. The intuitive understanding of alcoholism by these two great playwrights might be compared with the present scientific understanding. (See for example, Milam, Dr. James R. and Katherine Ketcham. Under the Influence: A Guide to the Myths and Realities of Alcoholism [1981] or Ketcham, Katherine, et al. Beyond the Influence: Understanding and Defeating Alcoholism [2000].)

Here's a curiosity: the duet song (best number in the movie; Crosby sang it with Jacqueline Fontaine) has the lyric "What you learn is you haven't learned a thing," which is what the alcoholic learns everyday.

And here's a familiar line, cribbed from somewhere in the long ago: Fontaine asks Crosby aren't you so-and-so, and he replies, "I used to be."

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

Musical stage star Bing Crosby (as Frank Elgin) is all washed-up in the theater; after the accidental death of his son, he seeks solace in alcohol. Mr. Crosby's dowdy wife of ten years, Grace Kelly (as Georgie Elgin), is both domineering and co-dependent. Ex-hat check boy, and Cosby fan, William Holden (as Bernie Dodd) becomes overly involved with the pair, while steering Cosby's boozy comeback. Mr. Holden is as dependable as always. Ms. Kelly is good, but sometimes too obvious in showing frumpiness. Surprisingly, Cosby, the least heralded dramatic actor of the threesome, outperforms his illustrious co-stars; he really crawls beneath the surface of his character, and manages to make an almost tuneless, lackluster story much more interesting.

******* The Country Girl (12/15/54) George Seaton ~ Bing Crosby, Grace Kelly, William Holden, Anthony Ross

1954 was a banner year for the three stars of The Country Girl, as Grace Kelly, who would win an Oscar for her performance in this film, also appeared in the highly successful Rear Window and Dial M For Murder, both for Alfred Hitchcock, as well as the grim war drama The Bridges At Toko-Ri, which also features William Holden. In The Country Girl, Holden gets third billing despite his having just won an Oscar himself, for Stalag 17, and who was at around the same time could be seen in Sabrina and Executive Suite. Top-billed Bing Crosby was soon to be seen in the smash musical White Christmas. As to the movie itself, it is adapted from a Clifford Odets play about an alcoholic actor (changed to a singer to accommodate Mr. Crosby), and his over-reliance on his wife, whom he tells anyone who will listen is the cause of his drinking, when in fact she is looking after him. The movie is an interesting study of alcoholism and its effect on human relationships, as the lying and deceit that it engenders ruins all attempts at honesty, however small, as it compels people to become actors in a drama over which they have no control. There is an added dimension to this aspect of the story, as the setting is theatrical, and the people in it theatre-wise.

The Country Girl lacks the brilliance of The Lost Weekend; and while it actually probes more deeply into the psyche of an alcoholic than the earlier film does, it's much more static, and visually it's unexciting. For a man steeped in the theatre and theatrical lore, Odets is surprisingly weak with the show biz shoptalk, yet proves himself once more a master dramatist with the psychology. I like the way it's made clear that Frank Elgin was on a downward slide before his young son died, as the boy's tragic death is his "official" reason for drinking. His use of charm, as much as drink, to quell his anxiety, is also nicely suggested, as Elgin is a man who cannot stand rejection of any kind, however small the issue. In this regard he is the worst kind of seducer, compelling others to accept him on terms he cannot himself accept, then trying to live up to their expectations despite the fact that he never really believed his own PR in the first place. He then lets everyone done, forcing them to feel as badly as he does, and meanwhile, the show must go on, and where's Frank? Oh, he's in his dressing room drinking some cough syrup. You see, he has a bad cold...

As Elgin, Crosby is splendid, playing without vanity a man snowed under by his own self-pity. He is especially good at turning on his charm at the wrong moments (i.e. when he's lying or hiding something). As his wife, Grace Kelly is altogether too young and attractive for the part, and doesn't seem at all like the country girl she's supposed to be. She was a beautiful woman, with perfect features, but her acting here seems barely professional. Holden is more fiery than usual as the short-tempered director, and for my money walks off with the show. Crosby's part may be meatier, but his character is pitiful and difficult to respect, while Holden is like a brick, holding the others and the movie together by sheer charisma. He's also essentially the audience's point man in the film, learning as he goes along; and we learn with him.

A fine movie, dated only in its particulars. It's very fifties in tone, and at times seems somewhat underpopulated, and yet even Miss Kelly's miscasting can't ruin it.

I admit I watched this movie mostly out of spite for people who complain about who does or does not win at the Oscars. THE COUNTRY GIRL is mostly brought up in classic movie circles when people want to moan about how Judy Garland's amazing turn in A STAR IS BORN was overlooked in favor of Grace Kelly frumping herself up here. I've come across people who hate Grace Kelly for this reason-- absolutely ridiculous.

That being said, I was not impressed with this movie and am once again compelled to ask, why does anyone care what wins at the Oscars? This movie is stagey and dull, no doubt applauded because Kelly and Bing Crosby were playing against type. I just couldn't get invested though. The movie is morose and ponderous, straining for realism while still falling into the usual Hollywoodisms. Regardless, Crosby and Kelly get to stretch their usual screen personas and that is somewhat interesting to see, and William Holden is decent playing the usual cynical Holden character. But the whole thing struck me as unimpressive in the usual Oscarbait mode.

I couldn't get into the beginning at first, watching Bing Crosby audition for the part. But once he had finished the film grabbed my attention and held on to it. I was impressed with the writing, portraying the character's subtle changes to make life more gratifying despite tragedy and loss. I loved the ending, seeing how devoted his wife really is. I'll recommend this film. I gave it a vote of 9, and out of a grade from A+ to F I give it an B+.

Those viewers who are used to seeing Bing Crosby playing nonchalant, lighthearted song and dance men may be a bit surprised by his role in 1954's "The Country Girl." Here, in one of his grittiest roles--perhaps his grittiest--he plays a has-been, alcoholic song and dance man who is given the lead in a big Broadway production by director William Holden, while being propped up by his mysteriously motivated wife (a surprisingly dowdy Grace Kelly). As compared to other classic Hollywood films depicting alcoholism and its effects, "The Country Girl" is nowhere near as devastating as "The Days of Wine and Roses" ('62), as harrowing as "The Lost Weekend" ('45) or "I'll Cry Tomorrow" ('55), or as enjoyable to watch as "Smash-up, The Story of a Woman" ('47). Truth to tell, Crosby's problem in this film isn't so much dipsomania, but rather interpersonal dependence, a retreat from reality, a crushing weight of parental guilt, and uncertainty; in these respects, the film is more reminiscent of 1966's "Who's Afraid of Virginia Woolf" than any of the others just named. What "The Country Girl" really has going for it are a marvelously adult, Oscar-winning screenplay and remarkably fine acting from all three leads. This is largely a three-person film, with many superb scenes, that does betray its origins as a Clifford Odets play. Kelly DOES earn her Oscar here, in case you were wondering, although whether she was better than Judy Garland that year (herself playing the wife of an alky in "A Star Is Born") is another question. The film also features one of the most surprising kisses in screen history; you won't see THIS one coming, I promise you!

Despite Bing Crosby's reputation as an abusive father, he showed that he could be an excellent actor in this movie. Acting AGAINST type, he plays an alcoholic actor in an excellent understated manner with none of the histrionics that some of those movies from that era had. The writer of this movie needs to be applauded. He wrote a play, obviously from reality. Was it CLiff Odets?

William Holden played himself, but this time with great lines. Grace Kelly shows some talent I didn't know she had....more than just a pretty face. Truly amazing. The Academy Awards were deserved indeed.

Buy this one for the ages. Spare yourself the junk at the box office these days.

The Country Girl (1954) : Brief Review -

Grace Kelly proves the loyalty of a country girl in this honest attempt but banal love-triangle surely makes it typical. If i have to put The Country Girl in one sentence then i would say, it's about the loyalty of a married woman who has suffered a lot but always remained steadfast. To prove it, this film uses typical love triangle which looks totally unnecessary. I will try to prove my point with next few lines. The film is one of several which contains a plot within a plot in the guise of the play under production:The Land Around Us. A director hires an alcoholic has-been and strikes up a stormy relationship with the actor's wife, who he believes is the cause of all the man's problems. Later he realises that the woman was innocent afterall and it was her who have been suffering for years as her husband was actually the one who was weak. Here comes that 'Kiss'. I don't know why this 'Mandatory Kiss' never convinced me to prove something, it is so common in Hollywood movies. I never looked at it as a sign of love, rather i always found it irrelevant even when it was necessary. I just tried to think, what if this kiss and that love triangle were not parts of this film? Wouldn't it have looked better? My answer is Yes. Just imagine, if Holden had left the room silently after knowing the truth about Crosby. It would have worked like a burning factor. But who wants to make intelligent cinema when you have handsome faces and glamourous doll in the film. Anyways, the performances have saved it. Kelly's best by far, Crosby's most serious role and a cake walk for Holden. Seaton preferred to make a daily soap when he could have made a meaningful drama. Overall, good but nothing great. Watch it for performances of the trio.

RATING - 6.5/10*

By - #samthebestest.

I'm sorry, but I can't see much that's Oscar-worthy about this soap drama. Grace wasn't too bad, but I've seen a lot better from her. The performances all round are terribly forced; one should not be aware that the people one is watching are acting. But I couldn't avoid this. William Holden is perhaps the exception.

Some of this reflects the style of the times, and certainly isn't as bad as Jack Lemmon, who I often find to be self-consciously over-expressive. Bing-o is woefully miscast here, and too old for the part. There are clichés galore and very few surprises. The story is actually fairly shallow and doesn't well reflect the real tribulations of alcoholism. If it was meant to be something like Days of Wine and Roses, it didn't work.

Good film, but nothing to write home about.