The Moon is Blue (1953)

Introduction

When The Moon Is Blue was released in 1953, it caused a seismic stir—not because of any wild visual spectacle or ground-breaking technical achievement, but due to its script. This modest romantic comedy made headlines for its frank (by 1950s standards) treatment of courtship, chastity, and feminine assertiveness. Adapted from F. Hugh Herbert’s successful stage play and directed by Otto Preminger, The Moon Is Blue is best remembered today not just as a light entertainment, but as a landmark in the long, slow dismantling of Hollywood’s Production Code.

Plot Overview

The story revolves around Patty O'Neill (Maggie McNamara), a young and independent-minded aspiring actress who meets architect Donald Gresham (William Holden) atop the Empire State Building. They quickly hit it off, and he invites her back to his apartment for drinks and conversation. There, Patty encounters Donald’s ex-girlfriend Cynthia (Dawn Addams) and her father, David Slater (David Niven), a worldly and somewhat lecherous middle-aged man who also finds himself intrigued by Patty’s direct manner.

The film unfolds over the course of a single evening and mostly within Donald’s apartment, giving it a stage-bound feeling that reflects its theatrical origins. The action is dialogue-heavy and focused on the social and sexual politics of the time. Patty, while not sexually liberated in a modern sense, speaks candidly about virginity, marriage, and male expectations—something nearly unheard of in the early 1950s on screen.

Performances

Maggie McNamara gives a charming and spirited performance as Patty. Her portrayal is both sweet and sharp, embodying a woman who knows her own mind even as she navigates the minefield of male desire and propriety. McNamara, who had starred in the Broadway version, brings a confidence and poise to the role that helps make Patty more than a stock ingénue.

William Holden, fresh off his Oscar win for Stalag 17, brings understated charm to Donald. While his character is not as compelling as Patty, Holden gives him enough likability and vulnerability to make their odd courtship believable.

David Niven arguably steals the show. As the suavely cynical David Slater, he delivers a masterclass in comedic timing and urbane lasciviousness. His scenes with McNamara crackle with an odd mixture of flirtation and generational discomfort that adds an edge to the otherwise fluffy script.

Direction and Pacing

Otto Preminger’s direction is surprisingly nimble given the film’s single-setting constraint. He allows the actors room to play, emphasizing facial expressions and body language over camera movement. The film retains the feel of a stage play, but this is not necessarily a flaw—it adds intimacy and draws attention to the dialogue, which is the film’s real star.

The pacing is brisk; The Moon Is Blue runs a tight 99 minutes, and the snappy repartee ensures it never overstays its welcome. There’s a lightness of touch in the direction that keeps the potentially controversial content feeling playful rather than provocative.

Controversy and the Production Code

Much of The Moon Is Blue’s historical significance lies not in its plot or even its performances, but in its defiance of the Production Code Administration (PCA). The PCA refused to grant the film a seal of approval due to its use of words like “virgin,” “seduce,” and “mistress”—all of which were considered too risqué at the time. Preminger and United Artists decided to release the film without the Code’s seal, a bold move that paid off. The film became a box office success and signalled the beginning of the end for the once-unassailable Code.

The film was banned in several cities and even denounced by the Catholic Legion of Decency, yet its popularity with audiences demonstrated that American moviegoers were ready for more grown-up content. In this way, The Moon Is Blue helped pave the way for the more liberated cinema of the 1960s and beyond.

Themes and Legacy

At its core, The Moon Is Blue is a comedy of manners—one that pokes gentle fun at the sexual mores of the post war era. It doesn't advocate free love or revolutionary feminism, but it does suggest that women like Patty—articulate, thoughtful, and unafraid to express their views on sex and marriage—deserve to be taken seriously.

Today, the film feels tame, even quaint. But its historical importance cannot be overstated. It challenged the censors, elevated the conversation around women’s autonomy, and dared to depict a young woman as something other than either virginal ideal or dangerous temptress.

Final Verdict

The Moon Is Blue may not rank among the greatest romantic comedies ever made, but it holds a unique and vital place in cinematic history. Witty, charming, and provocatively innocent, it offers both a snapshot of early 1950s anxieties and a sly commentary on them. The performances are delightful, the script is clever, and its cultural impact is undeniable.