Some Came Running (1958)

Minnelli presents the dysfunctional family by separating its members into three distinct planes, with no eye contact or emotional connection between them. 

Based on Henry Jones’ novel of the same title, Some Came Running explores the struggles of a small Midwest town to find meaning in life as they realize the war has shattered the values they once believed to be flawless. Overwhelmed by the new world, they would rather cling to the illusory ideals of prewar conformity. The novel’s title, drawn from the Gospel of Mark, underscores the lingering wartime trauma that has distorted their “pursuit of happiness.”

Minnelli’s examination of the era focuses on Dave Hirsch (Frank Sinatra), a disillusioned writer returning to his small hometown after sixteen years. He left the town in search of discovering his identity, something the town’s conservative values had denied him. Although the partially torn manuscript of a short story, which he is not sure whether to keep, suggests he was distracted after exposure to an open society. His pursuit of Gwen (Martha Hyer), an English teacher deeply rooted in traditional values, conflicts with his initial desire to explore the world free of outdated beliefs. Does it mean his experience made him realize he might have been too critical of the establishment; and now he is willing to reconsider his ideas. Unlike the emotionally open Ginnie (Sherley MacLaine), Gwen represents a world defined by moral rigidity. The scene in which he finally manages to kiss her is especially revealing: her initial resistance, as she physically withdraws, underscores the moral boundaries she refuses to cross. Even when she relents, she further retreats into the darkest corner of the room, exposing her inner conflict. She does not accept the freedom Dave suggested by removing the pins holding her hair tightly in the back. In the following scene, she returns to a conservative hairstyle. The scene illustrates the persistent pressure to conform, forcing individuals to suppress their personal desires to meet social expectations. Another scene that powerfully conveys the same theme is the one where Frank’s secretary and his daughter, Dawn, simultaneously leave town. The women who endured the hypocrisy of life in a small town had to leave to keep the facade of respectability of the ruling class.  The juxtaposition of the two demonstrates the irony of life they are compelled to accept. In the end, the conservative elite (Gwen) and the misguided outsider (Bama [Dean Martin]), who have more in common than meets the eye, recognize Gennie’s genuine virtue, yet, the suggestion is, she earns only the respect of the latter. 

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