Never Fear (1950) watch online HD

One of the users wrote that Ida Lupino was an auteur (an Auteuse) and I could not agree more.With the exception of " the trouble with angels" ,which was too conventional and too "Hollywood" ,she will remain the director who tackles such burning subjects as rape,bigamy ,exploitation of sportswomen,unwed mothers....without falling into the trap of melodrama.In fact,she took all these airport novels topics ,made them realistic and added a touch only a woman could bring to them.Sally Forrest ,who was often her actress,was actually her double.She played in three of her movies,two of which ,including this one ,with Keefe Brasselle.

"Never Fear" was a much better title than "the young lovers".The subject is at once simple and harrowing: a dancer contracts polio .We see her in her hospital,at first disheartened:she does not realize how much her boyfriend loves her;she does not realize how much some people show courage and set admirable examples :Len (Hugh O'Brian ,cast against type)whose illness is more serious than hers but who has found peace of mind;the couple and these beautiful lines (I'm sorry so much/I feel sorry for you;you are mixed up).

If Guy leaves her ,it is because he wants her to do something about it. When Carol leaves the hospital,she is lost among these people who walk in the street,just as Sally( "Not wanted" ) was lost when she saw children and when she heard a baby cry in his carriage .

Ida Lupino was the poet of the woman's soul.

My grandmother took me to see this film when I was 9 years old.It was at the start of the great polio scare in the U.K.The cinema was the Playhouse in Guildford situated in the Playhouse arcade,an area with rather twee shops(well,it was Guildford in 1950) and a teashop. Of course I wasn't aware that Ida Lupino had directed,co-produced and written "Never fear".For better or worse it was entirely her creature. In the movie business such power was rarely given to women. To my mind that makes her an auteur - or should that be auteuse? The one thing that stands out in my mind from that original viewing 55 years ago is that when polio struck the dancer the camera went out of focus and for years afterwards I thought that losing the focus of your eyes was a sign of the onset of polio.And they say that movies don't influence young children. In fact "never fear" has proved to be a well-made and effective movie in the genre now called rather unkindly "Disease of the Month". It's a very professional job by all concerned and if that sounds as if I am damning it with faint praise it is not the case. Anyone looking for "A woman's touch"(usually meant in a patronising and sexist way)will not find one.It stands up on it's on merits.

A little context might be helpful since the scourge of polio has fortunately receded from public view. For those of us post-war kids, polio was a real fear. It struck a lot of youngsters and could not only cripple legs, but also impair breathing and even kill. I can still picture kids sadly confined to iron lungs. Common wisdom among us was to stay away from public pools in the summer. I don't know if this helped, but at least we felt it did. I still remember that day in spring 1955, I believe, when the Salk anti-polio vaccine was announced. It had real impact for us. Anyway, I'm glad folks today don't have to worry, thanks to medical science and The March of Dimes.

The movie itself deals with a young woman's affliction (Forrest) and her various stages of coping. The therapeutic stages are understandably emphasized, along with a generally hopeful resolution that should—for a movie—come as no surprise. Kudoes to Ida Lupino and husband Collier Young for producing a film on what was then (1949) a sensitive subject. (Note how the word 'polio' is hardly used in the screenplay.) The movie's mostly well acted without going over the top. I suspect the romantic angle is played up for greater commercial appeal, along with the alternate title 'Young Lovers'. After all, how many folks would be attracted by a disease themed screenplay. All in all, the human drama of dealing with affliction remains affecting, though the scourge of polio has fortunately receded. In that sense, the film still appeals over and above its time period.

I will admit that I am not as enthusiastic about this film as others on this board. I love and admire Ida Lupino as an actress and a pioneer for women directors, and I have seen quite a bit of her directing. She always tackled difficult subjects. However, she never seemed to have much of a budget. Because of this, I assume, she couldn't afford to get really good actors.

This is a powerful story, written by Lupino and her then-husband, Collier Young. It's the story of Carol (Sally Forrest), a talented young dancer, who works with Guy (Keefe Brasselle). They're not only dance partners, but they're in love as well. Carol becomes ill and it turns out that she has polio. She is moved to a facility for rehab.

I was too young to know the full impact of polio; the worst of it was when I was very small. I certainly did know people who had it, and I know how frightening it was. Since no one was sure how it was contracted, I remember a woman in an AIDS documentary talking about people she knew, "good Christians" as she called them, who would leave food at the front door of a victim's family.

The problem I had with this film was the acting, which I consider abominable for the most part. Sally Forrest, a pretty young woman, was misdirected in the role and comes off as unpleasant. One of course understands anger and self-pity, but she was absolutely hateful for most of the movie. And one minute she would be screaming at a fellow victim, Len (Hugh O'Brian) and then in the next scene, she'd be friendly.

Keefe Brasselle could never act and, if what I know of him is correct, had the success he did thanks to mob connections. Apparently the President of CBS Television claimed he was forced by the mob to give Brasselle three TV series without a pilot or script. They all flopped and a lawsuit followed, as well as the president being ousted.

Anyway, he's not very good and when he begs Carol, "Be a woman for me, I need you" as she's sitting there with polio, one wonders if she maybe needed something too, and possibly the script needed a rewrite.

What is interesting is to see the therapy that polio patients had and the support and encouragement. The end of this film was very touching, demonstrating that with a few tweaks, it could have been good and a tear-jerker. Unfortunately I just couldn't warm up to Carol until close to the end.

Hugh O'Brian here has an early role. He and I are from the same home town, and about 15 years ago, I interviewed him. At a Hollywood Museum opening a year ago, I saw a man in a wheelchair who looked like a mountain man -- long gray hair and gray beard -- and I said to the person I was with, I think that's Hugh O'Brian. No one believed me. I spoke with him. He was 90 then, still had all his marbles, was very funny, and completely deaf.

Ida Lupino's place in Hollywood film history is so unique and unusual that it's no wonder there is a general tendency to overate her output as a director Her moving from actress to director with great control over content was virtually unprecedented.

Although Lupino is not really an especially innovative or important director, (would that she were), she most certainly was a very competent film maker and as such should be remembered.

"The Yound Lovers" of "Never Fear" is a case in point. There is a lot going for this movie. The decidedly B cast of Sally Forest, Keefe Brasselle and Hugh O'Brian are completely convincing and turn in strong performances. This story too, is involving and moving making this all in all very watchable.

The problem is Lupino's lack of cinematic style. There's little chance you could spot that this was a Lupino work as you may do with Sirt, Siodamak. Lang, Mann and others of note.

Still, she was an important figure and her movies should be watched.

One of these films that kind of gave me a sobering experience about my health in general. Carol Williams Dancer and engaged to partner Guy Richards are on the brink of getting the gig of their dreams which financially will put them over the top. The movie starts with the two dancing at a typical venue, Supper Club. After words a picturesque beach front scene as Carol is toweling down from an earlier midnight swim in the Pacific.They discus how there's nothing stopping them now with their act taking off to new heights.Marriage at this point is eminent and you wonder where this story is heading. The following day apparently Carol got up and walked to her studio in full leotards yet she looked lethargic lying on the floor as her fiancé oblivious to her illness is practicing on the piano. Finally he turns around and see's she is feverish and weak as he wraps her in a blanket and it's off to the doctor for further examination.The prognosis is Polio the damaging viral illness which affects the nervous system and causing temporary or permanent damage to limbs, the legs especially in Carol's case. Guy despite the hopeless situation is confident to get a job and is still determined to wed his afflicted bride to be as the feverish Carol lie hopelessly in bed. For Carol her legs were affected the most and rehab was the only way out of her quagmire. Guy finds work as a realtor with no prospects but does develop a love interest. Carol on the other hand is adjusting to her new surroundings at the center. You as the viewer hang on in this hopeless situation as Director Ida Lupino captures the difficulties of change in our leading characters. Choreography comes into play as well with a square dance the likes you'll never see. Well written story by Ida Lupino and screenplay by Collier Young as our misplaced lovers face enviable changes and adjust and move onward in a different direction. Sally forest who portrays crippled Carol obviously visited polio afflicted people and studied their mannerisms. Keefe Brassele who plays the leading man appeared to be on the goofy side and always seemed to be a little off.I literately took a double take and thought I was looking at Carl Switzer (Alfalfa).The highest praises to Writer, Director Ida Lupino for delving into dark post war subjects. As my Grandma Sadie used to say ,"If you have your health you have everything."

Carol (Sally Forrest) and Guy (Keefe Brasselle) are an up and coming dance team. However, Carol contracts polio and is now unable to walk. Much of the film is set at a sanitarium that treats paralysis victims and is both about her treatment and adjustment to her new life. Like most people facing this, she goes through severe bouts of depression. It becomes so bad that she pushes Guy out of her life--though he loves her and seems accepting of her disability. Will Carol be able to make a new life for herself or will she give way to defeatism and failure?

This is a pretty unusual film. Despite as many as 58,000 cases of polio in the US (about half of which resulted in paralysis) and a president (FDR) with polio, films act as if the disease never existed. You just don't hear about it in movies for the most part--and "Never Fear" is a rare exception. The only film of the time that reminds me of this is "The Men"--though this is about soldiers who are paralyzed as a result of war wounds. And, both films are quite similar in themes and quality. While "The Men" is a must more prestigious and big-budget movie, director Ida Lupino did a wonderful job in "Never Fear"--providing it with realism that you often don't find in 'disease' films. Very informative and well done all around--with fine acting (by relative unknowns), script and direction--and shot almost documentary style. Well worth seeing.

Finally, let me explain my score of 9. Sure, it's not as pretty a film as many A-pictures. BUT, as a lower-budgeted B, it has a HUGE payoff dollar-for-dollar. You can easily see why Lupino was soon given more chances to direct other B-budget films.

In "Never Fear," Guy and Carol are struggling dancing partners. But finally, after a performance that he choreographed, their agent gets them a two-week engagement at a major night club. They now have enough money to get married, which is something she has been hoping for. In "Outrage" (1950), another movie written and directed by Ida Lupino that has a similar structure, Ann and Jim are also in love. When Jim gets a raise, he tells Ann they now have enough money to get married, something she has been hoping for.

Then tragedy strikes, and the woman in each of these movies ends up regarding herself as damaged goods. In "Never Fear," Carol is stricken with polio. Guy still wants to marry Carol, but she pushes him away, telling him she won't marry him, because things would never be the same. In part, she does not want Guy to marry her out of pity, but she also has lost her sex drive. She does not say this explicitly (this was 1949, after all), but much later in the movie, she makes a remark about how she finally feels like a woman again. (Note: when the doctor offers Carol a cigarette as she lies in bed, she refuses the offer. This is taken as a sign that she is depressed. Later, when she starts smoking again, this indicates that she is getting better psychologically.) In "Outrage," Jim still wants to marry Ann, but she pushes him away. In part, she tells him he would never be able to forget that she had been raped, but she also now regards sex as something repulsive.

In "Never Fear," Carol goes to a hospital and then to an institution for therapy. There she meets Len, played by Hugh O'Brian, who has an even more severe case of polio than Carol. He is a kind of spiritual figure. At one point, the doctor that heads the institution says that Len has a special "power." In "Outrage," Ann runs away from home without telling Jim or her parents where she is going. She collapses on the side of the road and is rescued by "Doc," so called because he is a reverend. He takes her to a house owned by a married couple he is friends with, and they take her in.

In "Never Fear," Guy keeps coming around trying to get Carol to marry him. He has been trying to make a go of it selling houses, but she tells him to forget about her, to find himself another dancing partner. They have a bitter argument and do not see each other for a long time. Eventually, Carol begins to feel better about herself, and she has reached the point where she is able to walk with crutches. She writes him a letter, hoping to make amends. He shows up at her birthday party with flowers. At first, she thinks they will be able to get married after all, but then he tells her that he took her advice. He has another dancing partner, and they will be performing in Las Vegas soon, which is why he cannot stay long. After he leaves, she throws herself at Len on the rebound, telling him they are alike, and that they will be good for each other (it is here she makes the remark about feeling like a woman again). But Len knows she still loves Guy. He tells her that she is just looking for someone to be comfortable with, and that is not enough for marriage. In "Outrage," we never see Jim again, because he does not know where Ann is. She hopes that Doc will marry her, but Doc knows that she still loves Jim, and that they must go their separate ways.

In "Never Fear," when the day finally arrives for Carol to leave the institution, she has progressed to the point where she only needs a cane. As she walks down the street, she is apprehensive about facing the world alone (except for her father, with whom she will be living for a while). But then Guy shows up with flowers. It is clear that they will get married and live happily ever after. In "Outrage," a man starts making advances to Ann at a picnic, and she goes all flashback, thinking he is the man who raped her. She hits him with a wrench. It puts him in the hospital and she goes to jail. However, the man does not want to press charges, and the judge agrees to let Ann go provided she receives psychiatric care for a year. In other words, Ann receives professional care same as Carol, only hers is delayed. Doc puts Ann on a bus back to her home where Jim and her parents are waiting for her. And in case you were wondering, the rapist was caught.

In one sense, the ending of "Never Fear" was not far-fetched. People who don't dance tend to assume that dancing partners are lovers, but dancers know that very often they are not. So, Carol would not have had any reason to feel jealous about Guy and his new dancing partner. However, I still did not like what comes across as an artificial, tacked-on happy ending. I would have preferred that Carol leave the institution knowing that she will have to face the world alone, except for the support her father could give her, at least for a while. It would have given the movie a tougher, harder edge. In fact, I was a little bothered by the way the movie portrayed Carol's attitude as wrong-headed. If she wanted to make a clean break with her past, that was her business. In "Outrage," on the other hand, the happy ending seemed reasonable and natural.

Ida Lupino directed this story of Sally Forrest, a dancer who contracts polio and winds up doing a long stretch in a rehabilitation facility. It seems to be one of a spate of movies in the last half of the 1940s that dealt with physical disability, some better than others. "The Men" was far more dramatic and so was the blinded John Garfield in "Pride of the Marines". The plight of one of the characters in "The Best Years of Our Lives" was heartbreaking.

Along with other studies of disabilities, like "Bright Victory," "Never Fear" is rather routine. It takes us through the varying degrees of acceptance of the disability and shows us what the process of rehabilitation and physical therapy look like. It's not a bad film. It's just that it was one example out of many, and some of the others are better done. We're looking here at a movie with animated points of view. It's largely predictable and the performances -- again, not shameful -- just pedestrian. And the central figure is a woman instead of a wounded veteran. The principal idea behind her recovery is a cliché. Therapy doesn't work unless you FIGHT for it to work. You must WANT to recover. You have to "stop feeling sorry for yourself." That takes us into free will and a bit beyond, which is unfamiliar territory for me.

Sally Forrest is an attractive actress and appears to have had some dance training. Her on-screen career was that of a dancer who was a rising star before being struck down by the virus. As her fiancé, Keefe Brasselle hits his marks and projects the proper emotions. Hugh O'Brian is on hand as another patient to provide reassurance. Confined to a wheelchair, he struts less than usual.

Ida Lupino's direction is functional but sometimes it's hard to tell what's going on. At one point, Forrest collapses emotionally and shouts at Brasselle, "I'm a CRIPPLE!" She and her lover then have an angry exchange and Lupino has framed Brasselle with a life-sized statue of Pan or Bacchus -- or sometimes only its mysterious shadow -- behind him. The image is marked and repeated. If the director was getting at something, it eluded me.

Polio was a terrible disease. President Franklin D. Roosevelt literally could not walk. Photos always show him seated or holding someone's arm. Both of his legs were encased in steel braces, and he imitated walking by swinging his right and left hips forward, one at a time, the momentum carrying each leg with it. There was a massive outbreak in the US as recently as 1952, and it left some dead and the rest disabled to some degree. Due to considerable effort by WHO and The March of Dimes, Jonas Salk developed the first vaccine, which virtually eliminated the disease in all but a few nations. Salk refused to patent his discovery. He gave the cure to the rest of the world, free of charge. Where are the altruists of today?

To me this was almost 1955's Interrupted Melody, the biography of Marjorie Lawrence, so well portrayed by Eleanor Parker, who at the height of her career contracted polio and fought her way back. Both that film and Never Fear concentrate on the frustrations of the affected women and their struggle to get back to life.

Sally Forrest is wonderful as the budding dancer who contracts the disease. Everything she has going with her partner and love of her life, Keefe Braselle, is put on hold. In over-doing it, she falls and takes a downward spiral regarding attitude and her actions finally force the Braselle character out of her life.

Lawrence Dobkin of the Untouchables on television is her understanding doctor and in a complete change of pace, Hugh O'Brian turns in a very good performance as a patient in the rehabilitation center where Carol (Forrest) goes to. She spurns him but comes to understand that he understands her plight, but how he gracefully bows out when he realizes that Braselle is the person for her.

The film also emphasizes the hard and dedicated work of staff in providing therapy for polio victims.