Labor Day, 1955: Raining on the Picnic, Not the Film

TrainDuet800documnt 48bit dust152Not a drop of rain falls. Even though the river rolling through the peaceful town is muddy, nothing deters the community from celebrating their beloved Labor Day picnic.

This idyllic community celebration is the primary setting of “Picnic,” the 1955 film starring William Holden and Kim Novak, the story of one day in the life of a rural gathering of middle-class folk in mid-America during the mid-twentieth century. The sunny day shines happiness on everyone during the all American holiday, from toddler to great-grandmother.

Enter the drifter, fresh off hitching the rails, and the day begins.

After sowing wild oats for years, the drifter, Hal (William Holden), one-time football player and big shot, says he’s ready to settle down, and this place is it – Small Town America, USA.

Looking for work, he befriends a family and boarders who live in their house. By noon, the entire household has headed down to the huge picnic at river’s edge.

What fun: the 3-Legged Walking Contest, the Pie Eating Contest, the Girl Carrying Contest. A Talent Show, too, not to mention music from Ernie Higgins and the Happiness Boys.

So what’s making young, pretty Madge (Kim Novak) so moody? She has the handsome drifter’s eye, that’s for sure. Better yet, the town’s richest, most eligible bachelor, is after her.

What about her sister, Millie (Susan Strasberg), who’s edginess is obvious with every move? She has a foolish tomboy look no one really pays attention to, but she’s going to college – not Madge.

Is Rosemary (Rosalind Russell), one of the house boarders, angry because she’s an aging, single, schoolteacher when in reality she’s got more life and spunk than twenty others her age?

And why has Hal started to turn after tasting the sweet allure of peaceful small town life?

After all, their Labor Day picnic has everything. The Trained Seal Game, a sort of ring toss contest where women toss rings at the stems of Tootsie Roll Pops protruding from mouths of men on bended knees with hands tied behind their back.

The Needle in a Haystack Contest: boys diving willy-nilly into a huge stack of dusty, dirty hay for nickels, dimes and quarters the older men have thrown in.

The Talent Show, complete with stifled teens singing corny standards and barbershop quartet numbers. Nearby, a cute baby grimaces. Or is it a scoff?

The Balloon Bursting Contest: Which contestant can blow up a balloon to pop first? The long, nerve-wracking tension is broken with a ka-boom, and another baby cries.

But, of course, there’s always the constant upbeat sound of Ernie Higgins and the Happiness Boys lingering in the background.

How could this picnic go so sour?

The entire town bowed to Madge’s beauty. But, from her seat on a rowboat sailing slowly upon the dark water, Madge seemed ashamed by the throng’s gushing, repulsed she’d just been crowned Labor Day Queen of Neewolah (Halloween spelled backward).

The big picnic dance seems transcendent. The handsome, muscular drifter danced so sexually, so comfortably with Madge. Was that what made Rosemary uneasy enough to break up the festivities all by herself?

Even Hal and Madge’s secret, moonlit rendezvous down by the river later is less than romantic, more a moment to exorcise personal fears, flaws and demons to each other. Her pose suggests yearning, yet she changes course, looks off, and says, “But we’ve got to get back to the picnic.”

“Do we?” Hal replies, as a train rambles slowly out of town behind them.

In their own separate ways, in this instant of time, Hal and Madge have realized something. And with it, the dare is on. The train, a vehicle for change, beckons each to go. By stepping up on it, riding the rails, is there life and hope beyond this town?

No, not if they if they’re looking for a better version of it, because there is no town like this. It doesn’t exist. If it did, it would surely be composed of hollow, blind followers.

“Picnic” author William Inge deliberately injects scenes into his story to beg scrutiny about this American utopia. Those boys in the haystack, America’s youth, diving blindly after money. Other youth, bottled up into singing safe and soulless music that won’t offend the elders in control. Men, like trained seals, begging for love as if some game. The gluttony of gorging on food – pie – the all American dessert. Libido should be scorned, pushed out of sight, out of mind. Everyone, everything is under control. When will the balloon finally burst?

Inge saw what many in America couldn’t, wouldn’t or didn’t back in 1955. It makes you wonder what we’re not seeing beneath our very noses today, exactly sixty years later.

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For more film articles I’ve written, click the following.

“The Graduate:” https://mikeandberg.com/2014/12/21/graduate-film-college-parents/
“To Kill A Mockingbird:” https://mikeandberg.com/2014/11/02/nostalgia-film-mockingbird/
“American Beauty:” https://mikeandberg.com/2014/09/09/role-models-american-beauty/
The 2015 Oscars (including “Hollywood Express,” my own documentary on Hollywood):
https://mikeandberg.com/2015/02/21/hollywood-oscars-identity/

 

 

2 Comments

Filed under The Daily Thought

2 responses to “Labor Day, 1955: Raining on the Picnic, Not the Film

  1. Debra Marrs

    A fabulous analysis of this movie, Mike. I’ve never heard of the film, so obviously haven’t watched it. But you definitely make me want to. The question you pose at the end is pointed; poignant, even. It punctuates how films can parallel real life in parody and metaphor,. The best films, as it sounds like Picnic is, ought to foster questioning things. I’m eager to find out more. Thanks for this review! It’s awesome!

  2. It’s funny how age (wisdom) plays a part in experiencing art (or anything) more than once. Viewing Picnic the first time as a teen, then again as middle-ager or so, I followed the romance story and resonated to the nostalgic element of a story set in the serene 50’s. This third time, realizing a Pulitzer Prize-winning playwright was behind the creation, I suspected there was something far deeper going on than what I’d experienced watching the film before. In fact, Debra, I watched it four times. It took two viewings for all the pieces to come together, and perhaps there are more. I salute artists, the ones who – even from a vantage point on the water – tell tales about how still waters run deep. Look deeper – and learn. Thanks, as always, for a thoughtful addition to one of my posts.

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