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If you want a treat, watch this movie. Watch it with your kids, despite the movie being made 50 years ago I bet they enjoy it. It is truly Clifton Webb ( as Mr. Gilbreth ) at his best. A shame he never won an Academy Award despite three nominations in his career. You can't help but enjoy the High School dance scenes. Edgar Buchanan's brief scenes as the family physician are also a treat. It's 85 minutes you won't regret spending.

Clifton Webb is a joy in this delightful film, based on a true story, of an eccentric genius and his twelve children. The color is gorgeous, and the interior design of the family's New Jersey home ought to have won an Oscar. Myrna Loy is solid as Webb's patient, loving wife, and Jeanne Crain energetic as his spunky daughter. There isn't much story here, as events unfold naturally, as they do in life, and one isn't always sure where the film is going. Early twentieth century America is captured in all its overstuffed, art nouveau-ish glory, as the film's plot, irregular, often going off on odd tangents, perfectly mimics that style of design so popular at the time. The movie is really about the end of an era, as we see the very tail end of the Gilded Age turning into the roaring twenties, and with it the death of the old paternalism, at times stiff, occasionally charming, perfectly embodied by Mr. Webb; and there is an awesome sadness at the film's conclusion, as we see a man and his era pass into history.

This is very silly, but I watched this movie as a young boy in the late 50's or early 60's for the first time. To this day, this movie remains vivid in my mind. For some reason, I was imprinted with Frank's speech on how to save time while showering.

As the efficiency expert, it was just part of the family's daily routines laid down by their father. It did however seem extremely obvious to me that the shower scene was a comment on how to tackle any problem presented to one in their daily lives.

Get it done, accurately and quickly!

50 some years later I often have visions of the father giving instructions to the small children and their intense desire to understand his rapid fire directions. While the movie was a comedy in nature it was also a true picture of the family unit of that time.

My main statement is that it is one of the movies that has made a lasting impression in my mind. If a movie is able to affect an individual positively for over 50 years there must be someone up above smiling and knowing that they achieved their goal of putting a story into our minds that would last not only on celluloid but in our hearts and minds.

While some might be critical of this movie for being "overly cheerful and sappy", I find "Cheaper by the Dozen" and movies like it of their time a haven in today's sexualized, blow 'em up assortment of trash. This movie is pure entertainment. You don't have to think. Just sit back, laugh and enjoy.

Amusing family drama, set in the 1920's, and immensely popular on first release. No wonder, since the movie presents an idealized family portrait that goes humorously beyond the usual two or three kids. Here, of course, it's a dozen. With that many offspring, all kinds of kid hi- jinks are possible to fill out the screenplay. Nonetheless, it's the prickly Webb at the height of his popularity who dominates, along with a bemused Loy looking on. There's really no plot, just a series of ordinary family episodes centering around Mom, Dad, and the two eldest girls (Crain & Bates).

Still, there is something of a socially conservative subtext behind the scattered goings-on. Importantly, it's one that doesn't harm the generally humorous results. Take the way the family-planning lady (Natwick) is gently mocked when Dad parades his army of offspring before her. This was, after all, back in the day when contestants on quiz shows with bigger families got bigger applause. Or take the prom scene where young Tom (Hill) pointedly affirms to teen-age Ann (Crain) what her dad has already explained to her—namely, that boys only marry "good girls". This scene, however, appears aimed specifically at the audience and is a bit awkward for such an otherwise smooth production.

Despite the one scene, this is not an in-your-face subtext, but it is present and quite consonant with the times. After all, idealized families were not unusual for either movies or TV of the 50's, unlike today's often ribald variety. However, I am curious how in such a sunny movie the unexpectedly dark development suddenly occurs near the end. I guess its inclusion was to maintain the facts of the real life family on which the movie is based. At the same time, the development prevents things from getting too sentimental, always a pitfall for movies like this. Nonetheless, it is understandably passed over quickly and at a distance.

All in all, the movie remains warmly amusing, thanks mainly to another of Webb's prickly but likable characters. Then too, the kids are cute without being cutesy; at the same time, the lovely Crain looks a little long in the tooth to be playing a teenager. However, I'm still wondering how Mom can bear all of twelve kids and still look like Myrna Loy. Oh well, just another of Hollywood's enduring mysteries.