text: Modern viewers know this little film primarily as the model for the remake, "The Money Pit." Older viewers today watch it with wisps of nostalgia: Cary Grant, Myrna Loy, and Melvyn Douglas were all "superstars" in an easier, less complicated era. Or was it? Time, of course, has a way of modifying perspectives, and with so many films today verily ulcerating with social and political commentary, there is a natural curiosity to wonder about controversy in older, seemingly less provocative films. In "Mr. Blandings Builds His Dream House," there may, therefore, be more than what audiences were looking for in 1948. There is political commentary, however subtle. Finding a house in the late 40s was a truly exasperating experience, only lightly softened by the coming of Levittowns and the like. Politics in the movie? The Blandings children always seem to be talking about progressive ideas being taught to them in school (which in real life would get teachers accused of communism). In real life, too, Myrna Loy was a housing activist, a Democrat, and a feminist. Melvyn Douglas was no less a Democratic firebrand: he was married to congresswoman Helen Gahagan Douglas, whom young Richard Nixon accused of being soft on communism (and which ruined her). Jason Robards, sr., has a small role in the film, but his political activism was no less noticeable. More importantly, his son, Jason Robards, jr., would be for many years a very active liberal Democrat. Almost the odd fellow out was Cary Grant, whose strident conservatism reflected a majority political sentiment in Hollywood that was already slipping. But this was 1948: Communism was a real perceived threat and the blacklist was just around the corner. It would be another decade before political activism would reappear in mainstream films, and then not so subtly.
query: Modern viewers know this little film primarily as
gen_review:  the model for the remake, "The Money Pit." Older viewers today watch it with wisps of nostalgia: Cary Grant, Myrna Loy, and Melvyn Douglas were all "superstars" in an easier, less complicated era. Or was it? Time, of course, has a way of modifying perspectives, and with so many films today verily ulcerating with social and political commentary, there is a natural curiosity to wonder about controversy in older, seemingly less provocative films. In "Mr. Blandings Builds His Dream House," there may, therefore, be more than what audiences were looking for in 1948. There is political commentary, however subtle. Finding a house in the late 40s was a truly exasperating experience, only lightly softened by the coming of Levittowns and the like. Politics in the movie? The Blandings children always seem to be talking about progressive ideas being taught to them in school (which in real life would get teachers accused of communism). In real life, too, Myrna Loy was a housing activist, a Democrat, and a feminist. Melvyn Douglas was no less a Democratic firebrand: he was married to congresswoman Helen Gahagan Douglas, whom young Richard Nixon accused of being soft on communism (and which ruined her). Jason Robards, sr., has a small role in the film, but his political activism was no less noticeable. More importantly, his son, Jason Robards, jr., would be for many years a very active liberal Democrat. Almost the odd fellow out was Cary Grant, whose strident conservatism reflected a majority political sentiment in Hollywood that was already slipping. But this was 1948: Communism was a real perceived threat and the blacklist was just around the corner. It would be another decade before political activism would reappear in mainstream films, and then not so subtly.
reference_response:   the model for the remake, "The Money Pit." Older viewers today watch it with wisps of nostalgia: Cary Grant, Myrna Loy, and Melvyn Douglas were all "superstars" in an easier, less complicated era. Or was it? Time, of course, has a way of modifying perspectives, and with so many films today verily ulcerating with social and political commentary, there is a natural curiosity to wonder about controversy in older, seemingly less provocative films. In "Mr. Blandings Builds His Dream House," there may, therefore, be more than what audiences were looking for in 1948. There is political commentary, however subtle. Finding a house in the late 40s was a truly exasperating experience, only lightly softened by the coming of Levittowns and the like. Politics in the movie? The Blandings children always seem to be talking about progressive ideas being taught to them in school (which in real life would get teachers accused of communism). In real life, too, Myrna Loy was a housing activist, a Democrat, and a feminist. Melvyn Douglas was no less a Democratic firebrand: he was married to congresswoman Helen Gahagan Douglas, whom young Richard Nixon accused of being soft on communism (and which ruined her). Jason Robards, sr., has a small role in the film, but his political activism was no less noticeable. More importantly, his son, Jason Robards, jr., would be for many years a very active liberal Democrat. Almost the odd fellow out was Cary Grant, whose strident conservatism reflected a majority political sentiment in Hollywood that was already slipping. But this was 1948: Communism was a real perceived threat and the blacklist was just around the corner. It would be another decade before political activism would reappear in mainstream films, and then not so subtly.<|endoftext|>
query_reference_response: Modern viewers know this little film primarily as  the model for the remake, "The Money Pit." Older viewers today watch it with wisps of nostalgia: Cary Grant, Myrna Loy, and Melvyn Douglas were all "superstars" in an easier, less complicated era. Or was it? Time, of course, has a way of modifying perspectives, and with so many films today verily ulcerating with social and political commentary, there is a natural curiosity to wonder about controversy in older, seemingly less provocative films. In "Mr. Blandings Builds His Dream House," there may, therefore, be more than what audiences were looking for in 1948. There is political commentary, however subtle. Finding a house in the late 40s was a truly exasperating experience, only lightly softened by the coming of Levittowns and the like. Politics in the movie? The Blandings children always seem to be talking about progressive ideas being taught to them in school (which in real life would get teachers accused of communism). In real life, too, Myrna Loy was a housing activist, a Democrat, and a feminist. Melvyn Douglas was no less a Democratic firebrand: he was married to congresswoman Helen Gahagan Douglas, whom young Richard Nixon accused of being soft on communism (and which ruined her). Jason Robards, sr., has a small role in the film, but his political activism was no less noticeable. More importantly, his son, Jason Robards, jr., would be for many years a very active liberal Democrat. Almost the odd fellow out was Cary Grant, whose strident conservatism reflected a majority political sentiment in Hollywood that was already slipping. But this was 1948: Communism was a real perceived threat and the blacklist was just around the corner. It would be another decade before political activism would reappear in mainstream films, and then not so subtly.<|endoftext|>