Easily the biggest piece of Right wing non sense propaganda I ever saw.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

Directed by Harold S. Bucquet, usually working on sentimental films at MGM, and this is one of those films.A pig headed by the book executive, C.B. Beamis (Gene Lockhart),has a rule that none of the employees can be married to one another. So when Margy (Lana Turner) and William (John Shelton) fall in love and marry and Beamis finds out, he fires them both.Soon they are expecting their first child, but William cannot get work anywhere. Instead he depends on relief. Three months into being on the dole he just picks up a shovel and starts digging. When the digging crew protests and the boss man protests, William just says that he is tired of feeling useless, just being fed and housed by the government and not part of society. He's so sick he'll work for free. The boss man gets a policeman and William is in jail for criminal trespass and a bunch of other minor charges, but still he is separated from his extremely pregnant wife who has no idea where he is.Will this all work out? Of course it will! It's a Harold Bucquet film in the MGM tradition! Watch and find out how.Lockhart is great as the pig headed irascible boss, John Shelton is good as the optimistic guy who quickly loses that optimism, and Lana Turner is almost too sweet and understanding as the wife. I can say that the film was not exactly timely. By 1940 the Great Depression was pretty much over and this might have packed a more meaningful punch had it come out about three years before. Its message about cooperation, basically "It Takes A Village 1940 Style" was rather timely considering WWII was just a year away.

If you don't like classics in general and are not sentimental, then don't watch. However, I think this movies' appeal is to those that enjoy watching a simple little sentimental 40's period movie without references to gangsters, WWII, and want to be a bit soapy. Turner and Shelton were both very young and good looking. Shelton's performance was good for that particular part- I don't think there was anything wrong with it. It is unfair to compare him to Turner, since she went on to become one of Hollywood's greatest actors/actresses. The predicament Shelton's character was in ...would make many a man result to tears and theatrics, even today.

I don't agree completely with the other reviewer.I think this movie is a fine social documentary of the times. Although the movie was filmed in 1940, the scene is really the Depression 30s.Movies of that era were either 1) escapist, "fluffy" movies, about escapades among the rich and/or young, 2) musicals, or 3) gangster flicks. Mostly. None of these genres really reflected the tenor of those times.True docu-dramas of the era are rather rare; perhaps the people just didn't want to be reminded of how awful things were.This movie depicts the trouble a young couple has in succeeding (or even surviving) in a capitalist, Depression society. Both boy and girl loses jobs, and the girl is pregnant; one senses homelessness and breadlines around the corner. The angst felt by such couples in those days is poignantly portrayed here.True, some of the dialog is corny and dated, but one must remember that the thinking of the 1930s was vastly different than that of today's.The performances are spot-on, too; every one of the characters is believable.This movie is well worth watching for the social documentary that it is.

"We Who Are Young" is the odd kind of movie that David Lynch, the Cohen Brothers, and Ed Wood Jr. must have adored as young men. It's an odd, stilted bit of didactic goofiness about how tough it is to get ahead in a stifling capitalistic society. It follows a young couple, a pre-stardom Lana Turner and John Shelton, as they invariably make the wrong financial moves during the pre-WW II Depression era. They both work at the same office-an accounting firm run like a factory, lunch-period buzzers and all-until it is discovered that they are married. No married women are allowed by company policy, and she is fired (but not before receiving lots of stern advice on living within one's means by the robotic department manager). And this happens just after they buy over $200 worth of new furniture on his $25 a week salary, now their only income. Then she gets pregnant. Then HE gets fired (and has an absolutely histrionic girly-fit, yelling at his boss that `if this affects my wife or child in any way, I'll come back here and just kill you! I'll just kill you!'). And it goes on. What makes the film so special, besides the unintentionally hilarious dialogue, is the way the actors will periodically stare into space as we hear their poetic thoughts overdubbed-very, VERY Ed Wood (and not unlike the similarly awkward thought-balloon overdubbing in Lynch's version of `Dune'). But the gooney monologues are certainly not constrained to the characters' inner world; they also take the occasion to look straight into the camera and actually speak their thoughts at length, even though other characters may be right next to them. How to react to this kind of strangeness is left entirely up to you, the viewer, because the film is so ineptly made you can have no idea whether it's trying to be serious or comedic. I don't want to spoil it for you, but let's just say that if you're a fan of the Coen Brothers' `The Hudsucker Proxy', the less violent moments of Lynch films like `Blue Velvet', Wood's `Glen or Glenda' and the like, you will enjoy seeing their genesis in this nutty bit of 1940's agitprop-pop.Look for it on AMC and Turner Classic.