Very very predictable, including the post credit scene !!!

Good concept, poorly executed.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Unlike previous commentary here, I thought that both principal actors did a good job (Lana Turner and John Shelton), but even good acting by the principals and the bit players as well, can't rescue a terrible plot. Honestly, I think this had every cliché and/or hackneyed phrase in the book, and almost every plot point followed a tired (and very stupid) formula. Here's an example: The couple learns they are pregnant, but they don't have money for a private doctor to deliver the baby. Wifey says, "I'll happily go to a clinic," but husband, in pure idiocy, claims that "No wife of mine will be going to a clinic!" Which promptly causes him to take out usurious payday loans, which make for terrible troubles that cause them to hit rock bottom for a while. I am SHOCKED that Dalton Trumbo wrote the script! I mean - Jeez - that's the guy who wrote "Spartacus" and "Roman Holiday"! In any case, this is worth watching only if you're in the mood to see a young Lana Turner, an underrated male actor in the lead, and what must have been Dalton Trumbo's C- attempt at a script when he was in Middle School.

...Famous fighting words uttered by Bill Brooks as he and his cute wife Marjorie (Lana Turner) look over the skyline. And in this sudsy MGM melodrama it seems a forgone conclusion as battling Bill crosses swords with meanie boss Mr. Beamis (Gene Lockhart), then later on with a meanie hire purchase employer. Lana Turner goes through the movie with a "smiling through tears" look on her face - her emotions never vary as she supports Bill through thick and thin. She and Bill are secretly married, it is against company policy for staff to be married and the day they have a glorious lunch hour picking furniture for their little flat, on the installment plan - you guessed it, by the day's end Marjorie is out of a job.Hardship follows hardship - Bill takes out a loan so Marjorie can have her own doctor when the baby's due, falls behind in his payments and he, too, is fired by Mr. Beamis, who sends him on his way with an assortment of homilies about scrimping and saving and keeping your nose to the grindstone etc. Cheery Marjorie hocks her wedding ring to pay for Bill to do a chartered accounting course but still no job and, desperate, he rushes out into the night, claiming he would rather steal than go on relief. Don't let "Screenplay by Dalton Trumbo" fool you, this is just another MGM fairy story about two kids trying to make it in the big city. It was done so much better in "Bad Girl" (1931) with Sally Eilers and James Dunn making you believe in their gritty portraits of love on the dole and just as realistic, "I Promise to Pay" about the sometimes grim reality of the dreaded installment plan. Trumbo's stamp is put on it by a couple of speeches - Bill, desperate, tries to get work on a construction site and Jonathon Hale gives him a job, first telling him that he was exactly in Bill's position as a young married man, Bill, in turn, proceeds to give Mr. Beamish a tongue lashing to the effect that people should be kinder to each other!!!Of course with a lot of MGM movies of the 1940s, everything had to be patched up and tied with a nice ribbon. Mr. Beamish proves to be not such a meanie after all and the end shows Bill in the hospital, beaming at Marjorie, who has presented him with twins (she looks and sounds as though she doesn't know how it all happened - maybe the twins were a surprise edition to the script) and is now able to chose between two jobs.Lana Turner as a young destitute married girl trying to give support to her struggling husband, was one movie role that she didn't have to become accustomed to. She always looked as though she was born to wear diamonds and furs but she had first hand experience, as a child, of poverty and family instability. She was enchanted by her father's shiftless personality but it didn't make for a happy home life and one night after taking part in a crap game he was found dead in a nearby town. The poverty didn't end for Lana until she was discovered by a talent scout in an ice cream parlour after cutting class.

This is a pretty hackneyed melodrama, obviously influenced by "The Crowd" though far inferior. Turner and Shelton play financially strapped newlyweds facing the perils of the Depression. The various crises and the final resolution are predictable and all of the characters are crude stereotypes, especially Gene Lockhart's tyrannical Mr Beamis. Shelton's performance is weak (he was dropped by MGM after this film), but Turner rises above the material and shows she's a star in the making.

"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.