It may not be Peyton Place but this tight-knit Californian community is still plagued by maritial infidelity, heavy drinking, domestic abuse, rape and, of course, racial prejudice. Martin Ritt's "No Down Payment" benefits from being well-written, (Philip Yordan), nicely photographed in black-and-white Cinemascope, (Joseph LaShelle), and it features a good cast of up-and-coming Fox stars headed by Joanne Woodward, (very good), though it's Tony Randall and Pat Hingle who walk off with the picture. Considered very daring and adult in its day, it now seems pretty tame but it did pave the way for a number of 'grown-up' American movies in the late fifties and early sixties and is actually a very good example of its kind. Worth rediscovering.

The performances of Pat Hingle and Barbara Rush seem very modern to me. When he washes the car while the rest of the community goes to church, she gently admonishes him for not going to church, but conveys to the audience that this has long been a point of contention between them, and that she understands his reasons - just as he understands her desire to have him attend church. However, like any intelligent wife, she doesn't go over old ground; she simply suggests a compromise. She negotiates with him quickly and easily by suggesting that he wash the car after church from now on. He easily agrees, and the matter is settled. In at least three other scenes,they're shown disagreeing about various issues - however, they do it calmly and maturely, and with a healthy dose of humor.

One scene explains, with charm, that they are simpatico in the bedroom, too. She doesn't make him bust his chops wooing her, and she doesn't pretend that she isn't interested, like good little 1950's girls were supposed to do,

Most moving is a scene in which they have their worst disagreement, and both actors effectively evoke their unhappiness about not being on the same page. One senses that this couple is very close, and that they derive strength from their partnership. After this worst disagreement, they attend a party at which Pat Hingle approaches his wife in a tender way, and asks her to dance. She agrees immediately, and in the following scenes, we see them dancing happily, and exchanging reassuring looks.

I think this couple's marriage depicts a healthy relationship. They're always ready to calmly discuss things, to hear each other out, and be fair. Their goal in any discussion seems to be reaching a fair agreement, and getting back to being good friends, as well as lovers.

In my opinion, Pat Hingle helms this movie. The other characters seem dated. For example, Hingle is the only one who jumps up to call the police after a crime has been committed; Hingle is the only one who is sensibly, not insanely, ambitious; Hingle is the only one who doesn't seem interested in other women; Hingle is the only one who considers his wife a partner, and values her opinion; Hingle is the one who is physically affectionate with his children; and most importantly, Hingle is the one who raises questions about racism and intellectual bigotry. And thanks to the script, he isn't a crusader. He is a man who is open-minded enough to contemplate these issues as they are presented to him, and to question the passive bigotry that he comes to realize has been ingrained in him by his family and country.

Hingle and Rush's characters ring true, and are beautifully portrayed by the actors. The other characters are broadly-drawn, one dimensional, and have not aged well.

This 20th Century Fox expose of "the good life" in the suburbs wasn't seen by anybody much in 1957, and it's easy to see why: It probes convincingly deep into the less pleasant aspects of this clean, all-white subculture, and suburban moviegoers probably didn't want to see their worst aspects on screen, and urban audiences didn't care. Early Martin Ritt, and typically thorough of him, it explores prejudice, sexism, alcoholism, war veterans with what would now be diagnosed as PTSD, and capitalism's way of trapping young families in debt. The wide-screen black-and-white cinematography is clean and alluring, and all eight principals do well--Sheree North, groomed by 20th to be a threat to Monroe, proves once again that they didn't really give her enough chances to show what she could do. The shiny surfaces and flattering clothes and powerful cars all illustrate that "good life," and show what's wrong with it. And in comprehensively exploring the roots and hypocrisies and effects of racism at the time, it's a good deal braver than many contemporary films.