User reviews

Full of life is a nice "little" film--and when I say "little", I mean it's a film with a very modest budget and pretenses. Sadly, although it's a film with very strong traditional family values, after it was made it was withheld from distribution because the Production Code Office would NOT approve the film because it showed a woman who was pregnant!! How showing a plump and pregnant film could harm the moral fabric of our society is beyond me--especially since the film celebrates life and family! The movie stars Judy Holliday and Richard Conte as a couple anticipating their first child. However, their life is seriously disrupted when Judy falls through the kitchen floor! It seems that termites have ruined the woodwork and the couple can't afford to have it fixed. So Conte asks his father (an experienced mason) to come to stay with them and fix the floor. However, this plan doesn't go as anticipated, as Dad is, at times, a pain in the neck while at other times he's wise and insightful. In the process, what it means to be family, religion and parenthood are all explored with a light and heart-warming hand. While not a great film, it's a lovely way to spend your time and I sure wish they made nice movies like this today!

John Fante always claimed that he wrote lousy screenplays,but I think he must have been fishing for compliments because his screenplay for "Full of Life" is every bit as funny and heart-warming as the book it is based on,which Fante also wrote.Whereas the novel was told from Fante's point of view,the movie really tells the story from his wife's point-of-view,and Judy Holliday was the perfect actress for the role.This is a wonderful little film from the days before America lost its innocence.

Full of Life is a very amusing domestic comedy about pregnant wife Emily Rocco (Judy Holliday) and her husband Nick (Richard Conte) who ask Nick's old Italian father, a carpenter (Salvatore Baccaloni) for help after discovering a hole in the kitchen floor. It's a nice movie, but I was more expecting belly laughs, which is not the purpose of this movie.

I have seen this film only a few times. The first time I turned it on after it had begun. The second time and all the times after, I looked for it. 1950's to the max. The conflict of the old and new ways, father and son. It is all here and told in a clear sweet story.

This is one of those films that's difficult to give any kind of "objective" review. It's a personal story that (for this viewer) fails to achieve any sense of universality. How you react will depend on how sympathetic you are with the author's world view.

Based on John Fante's novel of the same name, it appears to be Fante's musings on family and the church. Nick's father is an overbearing pest without respect for his children's desires to lead their own lives. And though the characters' questions about the place of religion in their lives is not overplayed, one nevertheless gets the feeling the film is, in part, a promotion of the Catholic church. Viewers who feel Catholicism is the biggest purveyor of lies, superstition, and intellectual oppression in human history will likely be offended.

The best thing about it is its restraint. It could have been played as broad comedy, but Richard Quine directs it as a comic drama. Judy Holliday drops her usual New York voice, so if you're a fan of her other films, you might not find her appealing (though her performance is excellent).

I've seen this film twice (the first time was on AMC, 15 years ago), and my opinion of it hasn't changed. It's "warm" only in a shallow, very schematic way.

I've been discovering (and rediscovering) the wonderful career of Judy Holliday, but this is the first film out of 5 of hers I've seen so far that left me feeling disappointed and underwhelmed. It feels like a "slight', pleasant film at best, despite addressing some fairly taboo and/or moral issues with modern (for the time) sensibilities clashing with old world customary beliefs, and old world's more or less winning out. The film tries to straddle both viewpoints and ends up with a confusing conclusion that simply doesn't work. Watching with today's eyes, much of it's sensibilities come across either dated or hypocritical (i.e. Heavy drinking/drunkenness throughout and encouraging a pregnant woman to do so, marriage viewed as, "worthless" unless consummated in a Catholic church, etc). And while there are moments, the comedy, drama, and "moral" messages never seem to come to any solid fruition. Judy is fine here, but the real scene stealer of the film is Salvatore Baccaloni, who plays a character so over the top in a broad, comedic, stereotypical sense, that everyone around him looks flat or miscast by comparison. Richard Conte's the biggest culprit, IMO, conveying zero comedic sensibility, and his straight up dramatic approach feels incongruous and leaves the viewer confused as to what exactly it is they're watching.

It's a film that, while I was watching it, I couldn't help feeling that it could have been much more enjoyable and successful in it's intent had it been rewritten for Lucy and Desi.

John Fante's screenplay from his novel and Richard Quine's direction cannot decide whether they want to be comedic with a serious overlay or serious with a humorous tinge. Consequently, as with most in between films, the drama is not all that compelling and the funny parts aren't all that funny, as witness the sleeping berth sequence on the train which just kind of lies there (no pun intended). Combine the above story/tone problem with Salvatore Baccaloni who, with great zeal and volubility, leaves no Italian stereotype unturned and you have one loud, dull movie. If it wasn't for Judy Holliday and her usual blend of sweetness, charm and humanity I would have pulled the plug five minutes after Baccaloni's introductory scene. Solid C.

Those expecting a screwball comedy will be disappointed, as this is a tender, touching slice-of-life comedy. The incomparable Baccaloni is afforded some screwball moments having sympathy pains along with Judy's pregnancy, and he is marvelous. It works all-the-better, I think, that Judy contrasts him by playing this one straight-up. This is one of the few movies I've ever seen that depicts the fact that when a woman ishaving her first child, we are far from experts at why we feel the way we feel or how it needs to be handled. Richard Conte is winningly tender as the insecure husband with money worries but unconditional love. And the supporting cast is marvelous. I love this movie.

After enjoying the incomparable Judy Holliday in the musical classic "Bells are Ringing", I was looking forward to seeing her talents in "Full of Life" - a movie that TV Guide gave 3 stars out of 4 and called a "comedy".

This is quite possibly the worst movie I have ever seen. It was painful to sit through. It's not a comedy by any stretch of the imagination. There are only a few (that's exactly three) mild chuckles in the entire film.

The incredible comic genius of Judy Holliday is completely wasted here. Approaching her 9th month of pregnancy, she respectively smokes, lifts heavy objects, drinks, and flies in an airplane. The Italian relatives in this film are nothing but stereotypes.

The only possibly redeeming value that this movie has (and this is quite a stretch and does not really redeem the movie nor make it any more worth watching) is the slightly advanced thinking in the script that makes Judy's character a scientist (not "just a housewife") and that includes a respectful examination of the meaning that religion has in a marriage. These ideas are quite advanced for a movie from 1956 that claims to be a comedy.

I admit that sometimes one's mood while watching a movie can affect one's opinion of that movie. I accept that "Toy Story 2" (which I also rated as "poor") may not have been as bad as I said it was, considering that I was in a very bad mood while watching it and didn't really want to be there.

That being said, I could win $10,000,000 in the lottery, be jumping for joy, and "Full of Life" would still be a stinker.

I was sick with the stomach flu one night and I turned on AMC around 3 in the morning not knowing what was on and I discovered this film. I had never heard of it before and I am a big film buff. I was pleasantly surprised. It is a nice sweet little gem of a film about family. It has some real tender moments and some quietly funny moments. It deals with a man, his wife, and his father. His father is originally from Italy and does not like his son's American ways. Which of course drives the son crazy. His wife is pregnant and he is concerned about that. His father wants to help him prepare to be a father, which has its good points and bad points. It shows, quite well, I think, the bonds and the love of family. If it is ever on I highly recommend it. It also has the best title for the story.

I discovered "Full of Life" when I was in High School in the early 1980's. I had never even heard of the film (a comment shared by several contributors to this site) when it came on late night television. It's funny to think a teenager could have been so moved by a film about experiences he has not yet had; but, I was. And as I have returned to this film throughout the years I find it becomes all the more perceptive and, yes, beautiful. "Full of Life" is about life, about the human comedy and it contains three extraordinary performances: one from the ever-amazing Judy Holliday, one from the underrated Richard Conte and one from opera star Salvatore Baccaloni, magnificent as the father-in-law. The screenplay earned a nomination from the Screen Writers Guild, but that is the only contemporary recognition it received. However, it remains--to those willing to discover it's sublime charm--a quietly moving, tender film for thoughtful viewers.

This movie is a sleeper. Coming at a time when "homey" [not in the modern gangbanger sense of the term] was in vogue. A pregnant woman wants an addition to her house for the new baby and gets her father-in-law, the great opera singer, Salvatore Baccaloni, a carpenter with old fashioned Italian family values, to do the work, over her husband's (Richard Conte)reservations. Holliday was at her peak after her brush with the McCarthy witch hunters and gives a great performance in this display of cross-cultural and cross-ethnic clashes of values. A fun, entertaining movie. See it. Enjoy. Feel good for a change.

So many way to do a post-modern critique of this - but if you wasted your time doing that, then you've missed the point.

This is just a lovely simple story and Judy Holliday is just radiant in it - no, it's not that Elizabeth Taylor/Spenser Tracy sort of upscale East Coast suburban thing - this is a California version where the grandpa is a working class ethnic guy and there's actually a sincere religious thematic element.

But the key is Judy Holliday - wow, she was great - just as comedic as Lucille Ball, but so much more natural - in fact, effortlessly natural on camera - all of her reactions and interactions just flow - and, yet, her performance is never trite - there are always surprising little twists, for example, in domestic mixup scenes where the wife character is typically expected to become an antic shrew, Judy just plays it sweet and easy and always with a gentle kind humor that could not be nicer to watch.

All of the supporting characters are very good as well - some might dismiss as "type casting" - but everyone seems comfortable in their roles and given the space to express their characters with their own level of nuance - it all rings true enough for a relatively simple narrative, that is nonetheless sincere.

And this is easy to enjoy - Judy portrays her part as a very intelligent woman - which she was in real life - she wise-cracks some, does it a little silly at times - but always also as a loving woman - and all without the slightest whiff of salaciousness or snidely pretentious innuendo of any sort.

So relax on this one - its a true "feel good" watch - and, sure, we all know "real" life can be a lot more harsh - but, at the same time, people can "really" be loving and sweet.

As the song says: So it goes like it goes, like the river flows, and time keeps moving on - and maybe the good gets a little bit better, and maybe the bad gets gone.

So why not choose to think like that? :-)

At the first sigh, one of the comedies of the period. Not so easy but inspired crafted. Virtues - Salvatore Baccaloni performance, axis of the nuances of the classic flick and the Catholic faith presence. And, sure, no doubts, Judy Holliday beautiful work. Only problem , for me, Richard Conte seems too little old to be a credible Nick. But, maybe, this is just an insignificant detail.