Product Details

• Actors: Paul Newman, Barbara Rush, Alexis Smith, Brian Keith, Diane Brewster
• Directors: Vincent Sherman
• Writers: James Gunn, Richard Powell
• Format: Black & White, HiFi Sound, NTSC
• Language: English
• Rating: NR (Not Rated)
• Number of tapes: 1
• Studio: Warner Home Video
• VHS Release Date: February 7, 1995
• Run Time: 136 minutes
• Average Customer Review: 4.5 out of 5 stars See all reviews (6 customer reviews)
• ASIN: 6300269280
• Amazon.com Sales Rank: #9,113 in Video (See Bestsellers in Video)

Editorial Reviews

Product Description
A man accepts a plum job at a law firm if he stops seeing the bosschr(39)s daughter.

Customer Reviews

Most Helpful Customer Reviews

25 of 26 people found the following review helpful:

4.0 out of 5 stars Paul Newman cuts the mustard in Philadelphia's cream, April 14, 1999

By A Customer

"The Young Philadelphians" is pure 1950s Hollywood gloss, replete with well-coiffed, young social aspirants (Paul Newman, Barbara Rush), fringe-dwelling wannabes (Robert Vaughn, uncharacteristically unkempt) and rough diamonds (Brian Keith), blended together under Vincent Sherman's by-the- book direction. Hollywood in 1958-9 was gingerly trying to avoid the whiff of McCarthyist hysteria by leading with its heart rather than its head; hence, "The Young Philadelphians". In its favour this film unearthed some genuine acting talent (Robert Vaughn) while reminding us of the great character actors of older times in Billie Burke's marvellously potty characterisation.

The major theme of this picture is personal redemption, as Newman's character Tony Lawrence ("one of THE Philadelphia Lawrences" as we are continually reminded) seeks to recapture self-respect and lost love, victims to a voracious value system which divides the haves and have nots into neat stereotypes. Tony loses his girl (Barbara Rush) to the wiles of the old order law elites, who suck him into the vortex of old money, and older prejudices. But Tony is also young, and has his own values - as displayed when the wife of his boss makes a play for him, only to be rebuffed by Tony's insistence on commitment, not casualness; an irony lost on the precocious legal eagle!

Later, this resolve is tested when Barabara Rush comes back into his life after her husband's death. Tony must tread warily, as his inconsistencies are now well known. Finally, Tony's own value system is put to the sword by family revelations of bastardry, discovering he is not in fact a Lawrence, but the son of an Irish businessman (Brian Keith), a friend and mentor throughout Tony's life, but who is outside the inner Philadelphia circle.

Thus, Tony must now earn his stripes, not rely on the club. He does this as only a lawyer can, through the stage of the courtroom. Robert Vaughn's Chester, Tony's lifelong friend but a social (and physical) outcast, provides the medium for Tony's final resolve: he must defend Chester against a murder charge. The acquittal provides the end point for the power plays which have constructed "Tony Lawrence". Chester is admitted into the "Philadelphia set", while Tony is reunited with both his moral self (and can genuinely regard himself as a "Lawrence", but on his terms), and his ethical self, realising the complex threads that bind the personal ties of his emotional life.

While there are moments of sincerity in this film, its failure to resolve its own moral dilemma undermines its inherent value as an expose of the consequences of personal indulgence. If Tony had been truly redeemed would he have returned to the Phildalephia fold, or would he have denied its apparent claims to authority and carved his niche outside of its strictures, say by rejecting the old firms for his own practice, or starting afresh in an area of HIS choosing? This has been resolved unsatisfactorily in light of the stance taken by Tony toward the controlling elites towards the film's end.

Postscript: Robert Vaughn's performance is a revelation. His impassioned plea to Tony to defend him on the murder charge is one of the most powerful scenes in this, or any other, film. Anyone only vaguely familiar with Vaughn through "The Man From U.N.C.L.E.", should see this film to encounter an actor of great depth and believability.

10 of 11 people found the following review helpful:

5.0 out of 5 stars The Irish make it again!, January 10, 2004

By	Eugene L. Stickley "Gene Stickley" (Havertown, PA United States) - See all my reviews (REAL NAME)

I read this book years ago. Movies tend to fall short of good novels because they are too limited in what they can cover. But this movie does quite well. In the book there were three generations of Irish. The hero's grandmother is the immigrant who got the family to America. Next Tony (the hero) gets a key block in the getting ahead game when his second generation mother finds a crack in society's door but doesn't quite get in herself. But she keeps her foot in the door in that commitment to the future that our immigrant ancesters had that has done many of us a lot of good. Her commitment put Tony in a position to belong IF he can graduate from the right school and prove himself in a Society level law firm.

Tony and his mother get behind the scenes help from Tony's real father a successful and politically connected Phila contractor who sounds an awful lot like the famous John Kelly (Grace Kelly's Grandfather). Once again the Irish immigrant class are working with a commitment to the future of their people and their family. The real father sees to it that Tony can afford Princeton and law school. And Dad keeps Tony's mother's secret. They even keep it from Tony himself.

Tony does some bad things. He gets suckered by his sweetheart's father when the lovers decide to marry before Tony has his law degree. So he loses the girl. Next he steals a a plum summer job out from under one of his college buddies to advance his own career.

Next Tony does some good things. His super influential summer employer's young wife thinks she is in love with Tony. Tony actually turns her down while making her feel good about the whole thing. He's learning to think on his back as well as his feet. And he uses his inherited Irish blarney to great effect.

Next he saves his old Princeton Buddy from a murder rap, earning the undying gratitude of a socially very important main line family. His original girl friend, good looking and also well connected, marries Tony after her husband is killed in Korea. She wanted him even though she thought he was a sell out. But when she watches him battle his way through a tough criminal rap, in a high risk situation, out of loyalty to his old pal, she stands with a look of admiration and says something like "you are the man. I'm yours for ever"

At that point I was wishing that I was Tony.

4 of 6 people found the following review helpful:

5.0 out of 5 stars What I Want for Christmas..., December 6, 2003

By	Kelly (IL United States) - See all my reviews

...is a copy of this movie.

A fifties black and white classic, this movie is everything movies used to be, but, sadly, are not today.

Who's Paul Newman? Sure, he's devastatingly handsome and burns up the screen as Tony, but it's Robert Vaughn who steals the show. His character, Chester, is riveting and achingly fleshed. 1959 Vaughn in a white dinner jacket...and the jail cell scene takes my breath away every time.

The soul of the movie is good triumping over evil, even if it takes good a while to get there. The meandering path the two heroes take on their journey to personal salvation makes us examine our own life choices.

You'll feel better about the human condition (not to mention lawyers) after watching this movie.