You know a film does well when it's a comedy, succeeds in being funny without going overboard, and still has enough gas in the tank to last almost a full two hours without simply being a narrative linearly developed just passing its due duration time.

Half way through the film, the plot changes and adapts to new events and problems. There are proper funny scenes (the older kids getting Lucille Ball unknowingly drunk scene) and moments with secondary characters (the whole family doctor visiting the house scene concluded as he slides down the stairs like a kid) that help give the film good dynamism entertainment wise where it easily just could've been a plain collection of strong morals and values depicted in boring old scenes.

One would have to concede, at very least, it's quite an ambitious endeavor to bring that plot to film ! And do it successfully, at that.

Fonda is great as always, Ball is good, and the whole family buys into the spirit of the film just fine.

Watching more contemporary cinema, this is a film that has certainly influenced lots of newer movies, in various different ways. And while family comedies quickly became a national habit in the U.S., this one here elevates the fundamental values of a healthy American society and shine on them a brighter light than any of the newer efforts. We sure miss the spirit of such films today...

8.5/10.

In the 21st century, it may be inconceivable to many people how anyone could have a large family. Eight or ten children would seem beyond the ability of anyone to raise. But, 18 would surely be insane. Indeed, many think four children today make a large family. No doubt, that's a reflection on our culture. But back in the days when I was growing up (mid-20th century), families with four or fewer children were small. Five to nine kids would be a medium-size family. Ten or more made a large family. And every town of any size had one or more families of 15, 16, 17, 18 or more children.

"Yours, Mine and Ours" is a warm-hearted comedy about two widowed people who meet and fall in love, and then unite their already individually large families into one family of 18 children. It's based on a true story, by Helen Beardsley. Desilu Productions bought the rights for the film even before the author wrote her autobiographical book, "Who Gets the Drumstick?" The branch of service is changed and a few other details are different in the movie, but basically it's a story of the Helen North and Frank Beardsley union.

In real life, the North children did vote unanimously to have their names changed to Beardsley, as in the movie. And, each parent did actually adopt the other's children.

All of the cast for the movie are good. Henry Fonda is Frank Beardsley, Lucile Ball is Helen North Beardsley, and Van Johnson is Frank's friend, Darrel Harrison. The film may be slow for 21st century audiences, but it is a nice look at the closeness and warmth of a large military family of the mid-20th century. A modern parent having trouble with a son or daughter might sit the problem child down to watch "Yours, Mine and Ours." The one great virtue that all children in large families learn is sharing with others. But there are many others as well (caring for others, helping with chores or assignments, giving, etc.). Modern families often have great difficulty inculcating such qualities and virtues in their children.

Oh, yes. The movie shows Helen and Frank having one of their own babies as well. In real life, the couple had two more children – for a total of 20 between them. Before this movie was made, the largest family put on the silver screen was that of Ma and Pa Kettle in a series of movies from the late 1940s through 1957. They have 15 children. So, the Beardsleys of "Yours, Mine and Ours" hold the record.

Frank Beardsley's (Henry Fonda) opening narration tells of how his children feel he neglected his wife and their mother; an interesting parallel to real life in which Fonda told his wife Frances Ford Seymour in 1949 he wanted a divorcée so he could remarry after an unhappy 13 year marriage; a confession which drove her to suicide. Not to mention Fonda was a man who was "emotionally distant" to his children starring in a movie like Yours, Mine and Ours, but being the great actor he is, never is he out of place.

Yours, Mine and Ours doesn't have a massive amount of substance but has just enough to keep it afloat. It's not the most advanced comic material for the likes of Lucille Ball but she makes the most of it. Apparently Fonda became deeply in love with Ball during film and the two became very close; always a benefit to the on screen chemistry. Likewise sex references still manage to slip into a family film ("He'll bring me home in plenty of time for dessert"). The cinematography is also surprisingly advanced for a movie of this kind such as seen in the very opening shot of the film in which the camera pans back from a close up of Fonda to a battle ship in its entirety. Likewise there are plenty of effective shots of San Francisco.

The old fashioned family ideals in Yours, Mine and Ours were not in tune with a changing America of the time. The film was originally to be made in the early 60's but was delayed due to various setbacks but the fashions present here are clearly of the late 60's. With the film's inclusion of battleships and planes the movie clearly has US Navy endorsement and I can see this pro-military aspect of the film not going down well during the days of the Vietnam War. Likewise at the end of the film the eldest son Michael Beardsley joining the armed forces; so I guess that's off to Nam! This is the aspect of Yours, Mine and Ours which I find the most interesting; it's a film which the product of before it's time, clinging onto bygone values. For example the movie has Van Johnson in a supporting role whom I've always pictured as being an archetypal 50's actor. But more importantly Frank Beardsley can't be a stay at home father, he's clearly a man's man as evident from his high ranking position in the navy.