As Young as You Feel 1951

John R. Hodges, a printer approaching retirement at 65 under a company policy, decides to take matters into his own hands. He douses his gray with black dye, hides a beard, and steps into the role of Harold P. Cleveland, the president of his former employer’s parent company. With a mix of mischief and shrewd timing, he leads a tour of the plant, while the firm’s anxious executives trail along, trying to keep up with the imposter’s confident stride. Along the way, he even spots Joe Elliott, the boyfriend of Hodges’ granddaughter, Alice Hodges, and flashes him a conspiratorial wink to let him in on the joke. The lighthearted mischief soon triggers real consequences: Hodges complains about a lack of seasoned workers, and Louis McKinley promises to roll back the retirement policy and rehire all affected employees in the past year.

Before Hodges can slip away, Louis McKinley has arranged for him to address the local chamber of commerce. Yet Hodges doesn’t miss a beat; he delivers a speech that extols the virtues and dependable strength of the older worker. The room erupts in a standing ovation, newspapers celebrate the unexpected upshot, and even the stock market nudges upward on the wave of optimism he has sparked. The public relations windfall seems almost magical, and Hodges is swept into a night of attention that expands beyond his wildest expectations.

That evening, Hodges is taken to dinner by Louis McKinley and his wife Lucille McKinley. McKinley’s attention, and Harriet’s (the firm’s alluring private secretary Harriet), swirl around the table. Harriet shows some interest in another executive, while Hodges himself enjoys a delightful time with Lucille, who is charmed by the compliments and flattery. Back at home, Lucille confides in her husband that she longs for a divorce, swept away by the illusion of romance she has found in Hodges’ persona.

Meanwhile, Joe Elliott is struggling to persuade anyone that Cleveland is an impostor. His case seems hollow in the eyes of Frank Erickson and the entire Hodges clan—George Hodges, Della Hodges, and Alice Hodges—who all doubt him. The situation changes, however, when Hodges returns home with his dyed hair, and Joe’s claims begin to gain traction. Della, worried about her son-in-law’s future prospects, suggests that Joe report the ruse to secure the promotion for himself, but Joe refuses to betray Hodges. The tension increases as Erickson begins to suspect something is afoot and warns their boss, Horace Gallagher. Gallagher, ever the skeptic, writes off Erickson as unstable and instead grants the promotion to Joe, setting up Joe’s chance to propose to Alice Hodges.

The plot thickens when the real Harold P. Cleveland confronts the impersonation and finds Hodges himself to be harmless, even admirable. Cleveland’s visit does more than test Hodges’ motives; it helps solidify Hodges’ unorthodox case for doing good in the world. Cleveland leaves with a respectful view of Hodges, and he even hints at future collaboration in public relations, though Hodges politely declines the idea of swapping his quiet life for a corporate role. Nonetheless, Cleveland promises to send Louis McKinley a memo the next morning, confirming that Hodges can reclaim his job for as long as he desires.

In a climactic moment, Lucille visits Hodges and learns that he will not interfere with a marriage. He reassures her that he would never come between a husband and wife, and that he recognizes the love that still binds them. McKinley arrives, offers a sincere apology to Lucille, and the couple reconciles, sharing a kiss before the fireside finale—only then does McKinley fire Hodges in front of the real Cleveland, making clear that the deception has come to an end. The real Cleveland and Hodges part with mutual respect, and Hodges stands firm in his choice to return to his former life.

What follows is a subtle, hopeful coda: Cleveland, impressed by Hodges’ motives and integrity, briefly reopens the door to a job offering, inviting him to lend expertise in public relations. Hodges respectfully declines this new path, opting to remain with his simple pleasures and family life. Yet the final gesture from Cleveland isn’t rejection—it’s a quiet assurance that, should Hodges ever want to come back to the corporate world, a place will await him. In that sense, the movie closes on a note of quiet possibility, celebrating an ordinary man who used wit and warmth to reveal enduring values in a world of bold impersonations.