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What if you were asked to investigate a murder in which you were the prime suspect? From this seemingly impossible notion comes a grandly entertaining nail-biter. Charles Laughton plays the punctuality obsessed, slave-driving head of a publishing empire who won't let his crime magazine's star editor (Ray Milland) take a day off to spend with his family. The overworked Milland, having just upset a delayed honeymoon trip for the umpteenth time, goes on a sorrow-drowning, bar-hopping bender with a mysterious woman who, it turns out, is Laughton's mistress. Later that night after Milland has gone home, Laughton murders her, and the next day he assigns Milland to investigate, since a number of clues point to her having spent time with another man that night. Milland, then, must not only find the real murderer but sidetrack the investigation away from himself. That both characters are solving the crime in tandem yet unwittingly working toward pinning the murder on each other is at the heart of The Big Clock's labyrinthine brilliance. Helping bring out the dark humor in this adaptation of Kenneth Fearing's noir novel (included in the Library of America's Crime Novels collection) is Elsa Lanchester as a high-strung painter who can sketch the prime suspect (Milland), a time-bomb plot device that only adds to the already unbearable suspense. This is a taut, lean thriller, superbly handled by director John Farrow, who never fails to remind his audience through repeated use of clocks, timepieces, and watches that all too often in our lives that ticking sound is the enemy. This was remade in 1987 with Kevin Costner as No Way Out. --Robert Abele ... Read more

Reviews (17)

The Clock's Ticking!
John Farrow's "The Big Clock" is one of the great noir films of the 40's. The downside is many people have 1) rarely seen it. 2) Many haven't even heard of it! Ray Milland stars as George Stroud a man who as the film goes on will have to track down a murderer when all the clues lead to one man, him! How can he prove his innocence. And how will he get anyone to believe him? These are the interesting questions that arise as you watch this film.
George Stroud (Milland) works for a publication that somehow manages to break cases before the police do. He is also suppose to go on his honeymoon with his wife Georgette (Maureen O' Sullivan) which is long overdue ( they now have a 5 year old son!). But, his boss Earl Janoth (Charles Laughton) wants him to postpone his honeymoon. Claiming he'll give him higher pay and a month's vaction. But George knows his wife will kill him if he's not there ready to leave with her lol. Now, one thing leads to another ( I don't want to give anyway too much of the plot). But George ends up missing his train and spends the night with Janoth's mistress! Later on that night, he finds that Janoth's mistress is dead! Was it murder? Well, all directions point that way since George saw Janoth go into Pauline York's (Rita Johnson) apartment. In an attempt to cover up his actions, Janoth tells George he has to solve the case before the police get involved. "The Big Clock" has a great musical score by Victor Young, nice cimatography by Daniel L. Fapp & John F. Seitz. And, fammed costume designer Edit Head does wonderful work. All of these things give this movie the "classic" noir feel to it. There are good, solid performances by everyone, and nice directing by Farrow. This is a very pleasurable film to watch on one of those rainy, dark nights, that just feels like watching a noir film. One of the best noir films I've ever seen.

Ray Milland and Charles Laughton Together. Enough Said...
As my title reads, this is indeed a captivating film-noir. The idea of a boss trying to blame an employee for murder might not have been a new one even in 1948, however with all its intriguing actors, witty taglines, and outstanding artistic quality, this film is perfect in the mystery world. Everybody should own a copy of "The Big Clock."

THE BIG CLOCK IS A BIG LETDOWN
I remember this movie from years back, and thought it was a pretty nifty noir thriller. A repeat viewing reveals it to be a bit on the trite side. Maybe it's Ray Milland's bland performance, but I had trouble getting through this one. Not all old films are true "classics" and this one is better left on the shelf, in my opinion.

There are many better examples of Film Noir out there. Give me LAURA or OUT OF THE PAST any day over this.

VICERAL NOIR DRAMA TINGED WITH COMEDY
"The Big Clock" is a brilliant labyrinth of dark humor and cyclical twists and turns - rather like riding a funhouse car into the murky blackness of uncertainty but with the nervous expectation that you are about to be frightened out of your mind. The film is a taut, lean thriller that presents a curious predicament for its hero, George Stroud (Ray Milland). He's a star reporter who is assigned to cover the murder of a mysterious woman by his punctually obsessed editor, Earl Janoth (Charles Laughton). There's just one little wrinkle that needs to be overcome; the overworked Stroud not only knows the woman in question but spent the night with her before she met with her untimely demise. There's also something else to consider; the woman was Janoth's mistress. Now the question arises for Stroud: how to accurately cover the scoop, report all the facts, expose the killer and keep his own name out of the proceedings. Both men are feverishly working to solve the crime, unwittingly culminating in accusations that will expose both their prior relationships with the corpse. Elsa Lanchester appears as Louise Patterson, the high-strung painter whose sketch of the prime suspect slowly begins to take on the figure of George Stroud. "The Big Clock" was remade in 1987 as the Kevin Costner thriller, "No Way Out".
THE TRANSFER: The gray scale is very nicely balanced with solid, deep and rich blacks and very smooth looking whites. There are instances where contrast levels appear somewhat low and fine detail seems slightly out of focus, but truly, there's nothing to generally disappoint one from this visual presentation. Occasionally pixelization breaks apart the background information - but only briefly and usually between dissolves. There's also a minor hint of edge enhancement that is barely noticeable. The audio is mono but very nicely cleaned up. There are no extras.

The Big Clock
Thrilling "Film Noir" type mystery. Ray Milland works for a magazine publisher who commits a murder. All the clues however point to Milland as the killer. He races against time to prove his innocence. First Rate Thriller! ... Read more

Reviews (7)

like molasses, a little slow but very sweet
Based on Russell Janey's novel, the Ben Hecht/Quentin Reynolds script for this film is sometimes sappy and often uneven, but it's also a nice sentimental story, told in flashback, by William Dunnigan (played in a somber manner by Fred McMurray), a press agent who was never a very happy guy, and is burying the woman he loved (but was never able to tell her so).
The real reason to watch this film is to see Alida Valli play Joan of Arc, in a "film within a film" segment. She is luminous and incredibly beautiful, and would have made a terrific Joan. Coincidentally, the lavish "Joan of Arc" production starring Ingrid Bergman was released the same year as this film.

Another reason to view "The Miracle of the Bells" is to see Frank Sinatra, skinny as a rail, in the unlikely part of a soft spoken priest; this was five years before his success in "From Here to Eternity", and he is surprisingly good, but far from great. He sings "Ever Homeward", a cappella, as he sits among the grave stones; there's a lot of gloomy aspects to the film, one of them being that the setting is a poor coal mining town...though it all has a nice pay-off.
Lee J. Cobb is Marcus Harris, the film producer making "Joan of Arc", and he has the humorous moment in the film with his "I won't stand for any press agent miracles !" rant, which was funny enough to make me laugh out loud, a rarity for me.
Some might say it's improbable that headlines of "Nation Mourns For Movie Star" could ever happen, especially when the "movie star" is unknown, but seeing how today's media obsesses about inconsequential stories, and runs with them for days (nay, weeks !) on end, on a slow news cycle, anything could happen.
Total running time is 120 minutes.

Memorable Movie
Orginally, I saw this movie about ten years ago and it really left an impression on me. It brilliantly grabs the viewer's heart...You would have to be dead not to be touched by this film. I loved it and I'm getting ready to purchase a copy for my 15-year-old daughter to watch. I've shared with her many other classics I've valued in my lifetime, i.e. Jane Eyre (Orson Wells), Wuthering Heights, and Alice Adams. I hope she will treasure the classics as much as I do.

A Feel-Bad Christmas Movie
The first time I saw "The Miracle of the Bells" was a New Year's Eve party in 1980, and man, it was a bring down. Here is a somewhat nasty Fred MacMurray mourning the loss of Valli (from "The Third Man"), who had only just completed filming her Joan of Arc movie, the movie that would have catapulted this obscure nobody into a major star, it seems, but fate would have it otherwise, since she up and died. Frank Sinatra plays against type big time as a gentle young priest. I really disliked this movie, and I bet you would too.

Setzer's Amazing Vocals and Stronger Edge of Music, Yet...
On this '86 effort the Cats try for a little harder rock-a-billy edge.The only problem is that there is nothing really memorable that stands out (except for one country twang-like tune on which Brian Setzer's vocals soar). By '86 the public's interest with Stray Cat strut had started to become diluted. However, because of the type of music or genre the Stray Cats have mastered it is a true collector's keeper. While I do not own the c.d., my vinyl copy is flawless and the track listing is exactly the same (no extras or bonus tracks on the import c.d.).

kinda silly, kinda nice
One theme of this movie is the importance of becoming a movie star. Contrary to one review below, Sinatra does sing in this movie--and tries to act, too (he's pretty wooden, in my own humble opinion). The contention in the movie that the entire American nation would hysterically mourn the loss of an actress they'd never met, seen, or heard of, is, in a word, hysterical. But, all that said, this is a kinda fun movie to watch. VALLI is MAGNIFICENT! She should have played Joan of Arc--watch the movie and you'll see why. I've heard rumors that the film will be re-made with Tom Hanks as the actor and Meg Ryan as the agent! ... Read more

Reviews (12)

An Absorbing Study of Anti-Semitism
"Gentleman's Agreement" tells the story of a Gentile writer (Gregory Peck) who poses as a Jew in order to get a good 'angle' on the issue of anti-semitism in Post WWII American society. His method proves almost too effective and causes problems for his young son, played by a very young Dean Stockwell, and in his relationship with a young woman (Dorothy McGuire), who finds out that she's not as liberal as she thought. Peck and McGuire are fine in their leading roles, but the film gains great depth from its outstanding supporting cast. This includes Anne Revere as Peck's no-nonsense mother, Albert Dekker as a tough, plain-speaking magazine boss, Celeste Holm as a fashion writer with a keen insight into human foibles, and Sam Jaffe in a memorable cameo as a distinguished scientist with a sharp sense of humor. The most compelling of the supporting performances, however, is that given by the great John Garfield. He plays Peck's life-long friend, who has just returned from war-time service in Europe. His role is actually not much more than a cameo, but his performance is the soul of the film. With painful clarity, he tutors his old friend in what it's like to be Jewish in a way that comes from his own lifetime of experience. He's not bitter or strident. On the contrary, he relates his advice and anecdotal evidence to Peck in a way that is heart-felt, insightful, and matter-of-fact. "Gentleman's Agreement" may not be the definitive treatment of this important social issue, but I think the film holds up very well after more than a half-century. The picture won Academy Awards for best director (Elia Kazan), best picture, and supporting actress Celeste Holm. It's not a perfect film, but its heart is definitely in the right place. This picture can be a rewarding experience for movie fans who appreciate fine acting and serious story-telling.

Stuffy Oscar Winner gets same transfer second time around!
In "Gentleman's Agreement" Gregory Peck stars as Philip Green/Greenberg, a reporter impersonating a Jew in order to gain first hand knowledge into anti-Semitism. At first, snubs seem quite subtle and harmless. But as the film progresses the seething underbelly of dissension against the Jewish faith begins to rear its ugly head. Dorothy McGuire costars as Kathy, his waspish girlfriend who struggles with her own built-in anti-Semitism. John Garfield offers a startling and poignant cameo as Dave Goldberg, while Celeste Holm turns in another fine performance as Anne Dettrey, the only cast member seemingly untouched by prejudice. The film also costars Anne Revere, as Philip's mother, and Dean Stockwell as his son. Despite excellent source material from the novel by Laura Z. Hobson, and the directorial reigns handed over to one of Hollywood's best, Eli Kazan, the resulting film is heavy-handed and tiresome in spots. The plot never quite surpasses its very theatrical staging and the performances, particularly McGuire's are stiff and uninspiring.

Fox already released this title as a movie only disc, without the making-of featurette. Now, as part of its Studio Series "Gentlemen's Agreement" continues to suffer from digital anomalies which plagued the original transfer. However, whereas the old transfer seemed to falter during the latter half with excessive film grain and shimmering of fine details, it is the first hour or so of this re-release that is riddled with edge effects, aliasing, pixelization and digital grit. As far as extras are concerned, this DVD offers little more than a brief back story featurette, audio commentary and theatrical trailer.

Superb DVD presentation of classic film
Kudos to Fox Home Entertainment for a very satisfying DVD presentation of "Gentleman's Agreement," the 1947 Best Picture Academy Award winner. The film itself is deserving of all of the accolades it received, both upon its initial release, and in all the years since.

I'm assuming that most of the people considering a purchase of the DVD have already seen the movie, so I'd like to focus here on the incisive commentary by Richard Schickel, long-time film critic for Time magazine. Stars June Havoc and Celeste Holm are also heard on the track, recorded separately, and while their remarks are interesting, this is Schickel's showcase, and he runs with it.

As it happened, I wound up listening to this commentary over the course of three nights. This kind of gradual exposure allowed me to really absorb Schickel's observations.

The critic is no sycophantic fan of "Gentleman's Agreement." While he admires its aims, and much of its execution (primarily the achievements of director Elia Kazan), he has some reservations about the script, and some of the acting.

He demonstrates a complete understanding of the conventions of 1940s studio filmmaking, but doesn't always accept the necessity that "Gentleman's Agreement" had to adhere to those norms. I didn't always agree with Schickel's criticisms of the film, but they certainly made me think, and I never found them off-putting.

Schickel wisely underscores the contribution of John Garfield, whose training in The Group Theater gave him a more realistic acting style than anyone else in the film. "Garfield seems to be acting in an entirely different movie," Schickel says, and it is not a criticism. The Garfield performance leads on a direct path to Marlon Brando's Stanley Kowalski in "A Streetcar Named Desire," also directed by Kazan, and Schickel makes this clear. It is at this point that he makes the single most fascinating statement in the entire commentary, which I won't spoil for you here. Suffice it to say that it's something that may strike you as intuitive, but put into this context, becomes something of a revelation.

I've seen Web-based reviews of this DVD that criticize Schickel for doing too much plot summary. I disagree; he doesn't merely give a blow-by-blow account of what's hapening. He mentions plot points, but goes on to offer an opinion about how well the moment is conveyed, or about what real-life parallels the film is touching upon, or something else that is valuable to the viewer.

DVD commentaries just don't get much better than this.

The other extras on the disc, among them an AMC backstory presentation and a selection of 1947 newsreels, are nice additions.

An interesting look at anti-semitism
Winning the best picture Oscar for 1947 comes the story of a journalist who poses as a jewish man for six months to find out how deep anti-semitism runs in New York City. When the film came out, it was considered controversial. I say more power to the film and was glad it was made. However, keep in mind the film is over 55 years old and while the issue of racism is valid even today in some parts of the country, it comes across as somewhat outdated. The saving grace is the script. It manages to inform without pontificating and really hits on a surprising amount of aspects. Example of a great exchange:
"Why, some of my best friends are jewish"
"And some of your best friends are methodist also. But you don't make a point of saying that, do you?"

The romance between the two leads is strained and the chemistry works better when thay are odds with each other. This is the first time I've seen a movie with Dorothy McGuire and while I'm sure she is good in other films, she comes acroos as wooden here. Particularly in contrast to Celeste Holm, who eats up the screen.

I also liked the back story behind the movie. There is an interesting AMC featurette included on the special edition. It very informative and the story of what happened to actor John Garfield is tragic. While this film does not resonate as a "classic" it is a very enjoyable, watchable film. Those collecting Oscar pics or who want a relativley tame film (by todays standards) about the aspects of racism could do worse.

Groundbreaking Look At Prejudice
Elia Kazan's 1947 film Gentleman's Agreement is the story of a journalist who is employed to write a series of articles on the scourge of anti-Semitism in America. The journalist, Phil Green, is played by Gregory Peck and in order to get his information first hand, he poses as Jew. He encounters all forms of prejudice and his blooming romance with the niece of his publisher takes a hit. Kathy (Dorothy McGuire) insists that she harbors no ant-Semitic feelings finds that through her association with Green, that such prejudices bubble underneath the surface. John Garfield gives a standout performance as Green's lifelong friend, Dave Goldman, who has experience prejudice his whole life and has learned to be philosophical about man's failings, but still is willing to fight against blind ignorance as noted in a gripping scene where he is denied a room in a swanky hotel by an unbearable snooty desk clerk who refuses to admit the reason he won't give Dave a room is that he is Jewish even though it is obviously apparent that is the reason why. Celeste Holm won the Best Supporting Actress award for her role as a fashion writer and socialite who is attracted to Green and heavily pursues him. The film was ground-breaking at the time of its release as it was the first Hollywood movie to tackle anti-Semitism head-on. Prior to World War II, it was an unspoken rule that anti-Semitism could only be hinted at even if a film like The Life of Emile Zola was about it. But over the years, the film has lost a lot of its power and it isn't aided by the fact that many of the characters are stock profiles that exude a one-dimensional feel. Despite that fact, it still is an important film and one that can still teach a lesson as well as entertain. Mr. Kazan won the first of his two Best Directing Oscars and the film won Best Picture in 1947. ... Read more

Reviews (2)

What More Can You Want?
Very good film with Alan Ladd as the head of his O.S.S. team dropped into Germany. Each one the team members do there part and each one pays dearly. The ending is a shocking twist! Buy This Film!

Excellent WWII action/drama
A great supporting cast which makes the movie happen and a great semi-documentary story of action and drama. A real cliff-hanger based on files of the OSS so it plays well.
Alan Ladd and Geraldine Fitzgerald (who's worth the price of admission just to look at) both early in career's do a great job. He was an exceptional natural athelete which shows well in the movie, and their obvious acting talent really come out.
Well worth seeing. She is also excellent in that time in Watch On The Rhine, a real classic of the war and the movies. ... Read more

Reviews (7)

like molasses, a little slow but very sweet
Based on Russell Janey's novel, the Ben Hecht/Quentin Reynolds script for this film is sometimes sappy and often uneven, but it's also a nice sentimental story, told in flashback, by William Dunnigan (played in a somber manner by Fred McMurray), a press agent who was never a very happy guy, and is burying the woman he loved (but was never able to tell her so).
The real reason to watch this film is to see Alida Valli play Joan of Arc, in a "film within a film" segment. She is luminous and incredibly beautiful, and would have made a terrific Joan. Coincidentally, the lavish "Joan of Arc" production starring Ingrid Bergman was released the same year as this film.

Another reason to view "The Miracle of the Bells" is to see Frank Sinatra, skinny as a rail, in the unlikely part of a soft spoken priest; this was five years before his success in "From Here to Eternity", and he is surprisingly good, but far from great. He sings "Ever Homeward", a cappella, as he sits among the grave stones; there's a lot of gloomy aspects to the film, one of them being that the setting is a poor coal mining town...though it all has a nice pay-off.
Lee J. Cobb is Marcus Harris, the film producer making "Joan of Arc", and he has the humorous moment in the film with his "I won't stand for any press agent miracles !" rant, which was funny enough to make me laugh out loud, a rarity for me.
Some might say it's improbable that headlines of "Nation Mourns For Movie Star" could ever happen, especially when the "movie star" is unknown, but seeing how today's media obsesses about inconsequential stories, and runs with them for days (nay, weeks !) on end, on a slow news cycle, anything could happen.
Total running time is 120 minutes.

Memorable Movie
Orginally, I saw this movie about ten years ago and it really left an impression on me. It brilliantly grabs the viewer's heart...You would have to be dead not to be touched by this film. I loved it and I'm getting ready to purchase a copy for my 15-year-old daughter to watch. I've shared with her many other classics I've valued in my lifetime, i.e. Jane Eyre (Orson Wells), Wuthering Heights, and Alice Adams. I hope she will treasure the classics as much as I do.

A Feel-Bad Christmas Movie
The first time I saw "The Miracle of the Bells" was a New Year's Eve party in 1980, and man, it was a bring down. Here is a somewhat nasty Fred MacMurray mourning the loss of Valli (from "The Third Man"), who had only just completed filming her Joan of Arc movie, the movie that would have catapulted this obscure nobody into a major star, it seems, but fate would have it otherwise, since she up and died. Frank Sinatra plays against type big time as a gentle young priest. I really disliked this movie, and I bet you would too.

Setzer's Amazing Vocals and Stronger Edge of Music, Yet...
On this '86 effort the Cats try for a little harder rock-a-billy edge.The only problem is that there is nothing really memorable that stands out (except for one country twang-like tune on which Brian Setzer's vocals soar). By '86 the public's interest with Stray Cat strut had started to become diluted. However, because of the type of music or genre the Stray Cats have mastered it is a true collector's keeper. While I do not own the c.d., my vinyl copy is flawless and the track listing is exactly the same (no extras or bonus tracks on the import c.d.).

kinda silly, kinda nice
One theme of this movie is the importance of becoming a movie star. Contrary to one review below, Sinatra does sing in this movie--and tries to act, too (he's pretty wooden, in my own humble opinion). The contention in the movie that the entire American nation would hysterically mourn the loss of an actress they'd never met, seen, or heard of, is, in a word, hysterical. But, all that said, this is a kinda fun movie to watch. VALLI is MAGNIFICENT! She should have played Joan of Arc--watch the movie and you'll see why. I've heard rumors that the film will be re-made with Tom Hanks as the actor and Meg Ryan as the agent! ... Read more

Reviews (23)

Suspenseful entertainment
"Sorry, Wrong Number" has to be one of the most well-done suspense films to come along. Adapted by the writer of the famous radio play that starred Agnes Moorehead, Barbara Stanwyck brings to life the invalid socialite who overhears a telephone conversation that will send her into a panic for the rest of her bedridden evening. Burt Lancaster is well cast as her neer-do-well husband, whom we learn is not as devoted as he seems.

The story is told in a series of flashbacks by various characters that Ms. Stanwyck encounters on the telephone, that one by one leads up to the shocking climax of the film. This film is perfect to watch with friends and family on a Saturday night with the lights off, to experience fear without the need for violence and gore. Filmmakers of today should take a lesson.

Talky, over-the-top melodrama that never really takes off
In SORRY, WRONG NUMBER, Barbara Stanwyck gives a forceful (if not particularly subtle) performance as an invalid who accidentally overhears a phone conversation between two men plotting a murder--and eventually realizes that she is the intended victim.

It's a great, potentially suspenseful premise, but rather than build on it, the film goes back in time to unravel the unnecessarily long and convoluted events that provide the motive for the murder. This is done by having Stanwyck telephone a number of different characters, all of whom then proceed to recap the plot through flashbacks (and flashbacks-within-flashbacks). The dialogue sounds false and scripted; you can tell this used to be a radio play (Burt Lancaster in particular gets the worst lines). No, it's not enough for a woman to tell Stanwyck about a house on a beach; she has to go into detail and expound upon the exact position of the house with relation to the shoreline and the dock nearby, and also the weather and the number of seagulls and whatever nautical details come to mind. Add to that the fact that Barbara Stanwyck's character has got to be one of the stupidest would-be murder victims ever; here's this lady who knows a man is coming to kill her, and all she does is call people and ask questions like, "Oh, who is so-and-so?" How unrealistic.

The film is engrossing and entertaining enough, but it's also incredibly frustrating. Because there is so little suspense invested in the story, it plays like a muddled soap opera. A thriller should be taut, not turgid. When there is suspense, it comes in tiny bolts, and the film undercuts the tension rather than allowing it to build and build. Yes, the climax is somewhat creepy, but it's very unsatisfying--not even Stanwyck's impressive screaming talents are enough to provide a good pay-off. As the closing credits played, I just sat there shaking my head in disbelief, thinking to myself that Alfred Hitchcock (who made a far better invalid-who-suspects-foul-play thriller called REAR WINDOW) might have had a field day with this one.

But the Right Movie
I'll never forget the first time I saw this movie. The quality I was most struck by was it's darkness. I was very young & didn't realise at the time that I was watching one of the best examples in the history of cinema of film noir(nightmare noir even).Darkness, darkness...even the scenes set during the day feel dark. Many of my fellow film lovers have already provided a synopsis so I won't bother you with yet another. Suffice to say this a superbly acted thriller with beautiful elements of melodrama & a knockout climax. I've seen Barbra Stanwyck & Burt Lancaster in SO many films, but this is the one I keep coming back to. Feel the darkness, enjoy the rain, live the nightmare...

Solid, but the radio play is better
Speaking as a fan of Lucille Fletcher's "Sorry, Wrong Number," the famous radio play, this version, adapted by Fletcher herself is surprisingly good -- especially given that the story has been fleshed out threefold.

For the uninitiated, Mrs. Henry Stevenson is an invalid who is confined to her bed. Her husband, who was supposed to be home hours ago, has yet to show. In trying to get him on the telephone (this was the age when operators still did all the work for you), she is crossed into another conversation between two men who are planning to kill a woman at 11:15 that night. Having a heart condition, this upsets Mrs. Stevenson ("Leona" in the film; radio did not give her a first name) and she tries several things to notify authorities.

Due to her highstrung manner and short temper, she doesn't get much anywhere and the night passes on as she spends all her time on the telephone. All the time, 11:15 is getting closer...

Barbara Stanwyck was nominated for an Oscar for her performance in Sorry, Wrong Number (the radio play also made a star of Agnes Moorehead), and it certainly is a tour de force with her in practically every scene. Lucille Fletcher's expansion of her storyline is superb, with more and more details given as pieces of the puzzle unfold with each new telephone conversation, told through flashbacks (and flashbacks within flashbacks). In fact, my only problem with the script is that it makes the husband sympathetic (probably because he is played by Burt Lancaster), whereas we had no inkling of the motives of the husband in the radio version (other than that his wife is a shrill shrew, of course).

Comic relief is also added (particularly in the police station) to little effect and the whole enterprise is simply missing something. Although I can't think of one specific thing that is wrong, the whole film just doesn't gel somehow. It's a good watch, I assure you, but I can only conjecture as to how it has attained its "classic" status. I think it must lie in the fact that it stars Barbara Stanwyck and Burt Lancaster and that Stanwyck gives a complex bravura performance.

But despite all this, I can't imagine ever wanting to see Sorry, Wrong Number again. The similarities to the radio show are there, and it's faithful, but the rest -- even with all the intrigue about gangsters and stolen money -- just seems like so much filler. I'll stick with radio.

Sorry for not having seen "Sorry, Wrong Number" DVD
I'm actually writing because I wanted to inform the previous reviwer that the radio broadcast of "Sorry, Wrong Number" starring Agnes Moorehead MAY be available through www.radiospirits.com. I actually own a recording of a radio broadcast of "Sorry, Wrong Number" performed by Stanwyck and Lancaster a year or so after the movie was released. Anyway, I do love the movie and Barbara's performance (isn't hard to believe she never won an Oscar other than the Honorary Award she was given in March '82?). I intend to buy the DVD soon! ... Read more

Amazon.com essential video

Elia Kazan directed this sometimes powerful study of anti-Semitism in nicer circles, based on Laura Z. Hobson's post-World War II novel. Gregory Peck is a hotshot magazine writer who has been blind to the problem; to ferret it out, he passes himself off as Jewish and watches the WASPs squirm. Seen a half-century later, the attitudes seem quaint and dated: Could it really have been like this? Yet the truth of the story comes through, in the wounded dignity of John Garfield, the upright indignation of Peck, and the hidden ways bigotry and hatred can poison relationships. That's particularly true in the Oscar-winning performance of Celeste Holm, who finds more layers than you'd expect in what seems like a stock character. --Marshall Fine ... Read more

Reviews (12)

An Absorbing Study of Anti-Semitism
"Gentleman's Agreement" tells the story of a Gentile writer (Gregory Peck) who poses as a Jew in order to get a good 'angle' on the issue of anti-semitism in Post WWII American society. His method proves almost too effective and causes problems for his young son, played by a very young Dean Stockwell, and in his relationship with a young woman (Dorothy McGuire), who finds out that she's not as liberal as she thought. Peck and McGuire are fine in their leading roles, but the film gains great depth from its outstanding supporting cast. This includes Anne Revere as Peck's no-nonsense mother, Albert Dekker as a tough, plain-speaking magazine boss, Celeste Holm as a fashion writer with a keen insight into human foibles, and Sam Jaffe in a memorable cameo as a distinguished scientist with a sharp sense of humor. The most compelling of the supporting performances, however, is that given by the great John Garfield. He plays Peck's life-long friend, who has just returned from war-time service in Europe. His role is actually not much more than a cameo, but his performance is the soul of the film. With painful clarity, he tutors his old friend in what it's like to be Jewish in a way that comes from his own lifetime of experience. He's not bitter or strident. On the contrary, he relates his advice and anecdotal evidence to Peck in a way that is heart-felt, insightful, and matter-of-fact. "Gentleman's Agreement" may not be the definitive treatment of this important social issue, but I think the film holds up very well after more than a half-century. The picture won Academy Awards for best director (Elia Kazan), best picture, and supporting actress Celeste Holm. It's not a perfect film, but its heart is definitely in the right place. This picture can be a rewarding experience for movie fans who appreciate fine acting and serious story-telling.

Stuffy Oscar Winner gets same transfer second time around!
In "Gentleman's Agreement" Gregory Peck stars as Philip Green/Greenberg, a reporter impersonating a Jew in order to gain first hand knowledge into anti-Semitism. At first, snubs seem quite subtle and harmless. But as the film progresses the seething underbelly of dissension against the Jewish faith begins to rear its ugly head. Dorothy McGuire costars as Kathy, his waspish girlfriend who struggles with her own built-in anti-Semitism. John Garfield offers a startling and poignant cameo as Dave Goldberg, while Celeste Holm turns in another fine performance as Anne Dettrey, the only cast member seemingly untouched by prejudice. The film also costars Anne Revere, as Philip's mother, and Dean Stockwell as his son. Despite excellent source material from the novel by Laura Z. Hobson, and the directorial reigns handed over to one of Hollywood's best, Eli Kazan, the resulting film is heavy-handed and tiresome in spots. The plot never quite surpasses its very theatrical staging and the performances, particularly McGuire's are stiff and uninspiring.

Fox already released this title as a movie only disc, without the making-of featurette. Now, as part of its Studio Series "Gentlemen's Agreement" continues to suffer from digital anomalies which plagued the original transfer. However, whereas the old transfer seemed to falter during the latter half with excessive film grain and shimmering of fine details, it is the first hour or so of this re-release that is riddled with edge effects, aliasing, pixelization and digital grit. As far as extras are concerned, this DVD offers little more than a brief back story featurette, audio commentary and theatrical trailer.

Superb DVD presentation of classic film
Kudos to Fox Home Entertainment for a very satisfying DVD presentation of "Gentleman's Agreement," the 1947 Best Picture Academy Award winner. The film itself is deserving of all of the accolades it received, both upon its initial release, and in all the years since.

I'm assuming that most of the people considering a purchase of the DVD have already seen the movie, so I'd like to focus here on the incisive commentary by Richard Schickel, long-time film critic for Time magazine. Stars June Havoc and Celeste Holm are also heard on the track, recorded separately, and while their remarks are interesting, this is Schickel's showcase, and he runs with it.

As it happened, I wound up listening to this commentary over the course of three nights. This kind of gradual exposure allowed me to really absorb Schickel's observations.

The critic is no sycophantic fan of "Gentleman's Agreement." While he admires its aims, and much of its execution (primarily the achievements of director Elia Kazan), he has some reservations about the script, and some of the acting.

He demonstrates a complete understanding of the conventions of 1940s studio filmmaking, but doesn't always accept the necessity that "Gentleman's Agreement" had to adhere to those norms. I didn't always agree with Schickel's criticisms of the film, but they certainly made me think, and I never found them off-putting.

Schickel wisely underscores the contribution of John Garfield, whose training in The Group Theater gave him a more realistic acting style than anyone else in the film. "Garfield seems to be acting in an entirely different movie," Schickel says, and it is not a criticism. The Garfield performance leads on a direct path to Marlon Brando's Stanley Kowalski in "A Streetcar Named Desire," also directed by Kazan, and Schickel makes this clear. It is at this point that he makes the single most fascinating statement in the entire commentary, which I won't spoil for you here. Suffice it to say that it's something that may strike you as intuitive, but put into this context, becomes something of a revelation.

I've seen Web-based reviews of this DVD that criticize Schickel for doing too much plot summary. I disagree; he doesn't merely give a blow-by-blow account of what's hapening. He mentions plot points, but goes on to offer an opinion about how well the moment is conveyed, or about what real-life parallels the film is touching upon, or something else that is valuable to the viewer.

DVD commentaries just don't get much better than this.

The other extras on the disc, among them an AMC backstory presentation and a selection of 1947 newsreels, are nice additions.

An interesting look at anti-semitism
Winning the best picture Oscar for 1947 comes the story of a journalist who poses as a jewish man for six months to find out how deep anti-semitism runs in New York City. When the film came out, it was considered controversial. I say more power to the film and was glad it was made. However, keep in mind the film is over 55 years old and while the issue of racism is valid even today in some parts of the country, it comes across as somewhat outdated. The saving grace is the script. It manages to inform without pontificating and really hits on a surprising amount of aspects. Example of a great exchange:
"Why, some of my best friends are jewish"
"And some of your best friends are methodist also. But you don't make a point of saying that, do you?"

The romance between the two leads is strained and the chemistry works better when thay are odds with each other. This is the first time I've seen a movie with Dorothy McGuire and while I'm sure she is good in other films, she comes acroos as wooden here. Particularly in contrast to Celeste Holm, who eats up the screen.

I also liked the back story behind the movie. There is an interesting AMC featurette included on the special edition. It very informative and the story of what happened to actor John Garfield is tragic. While this film does not resonate as a "classic" it is a very enjoyable, watchable film. Those collecting Oscar pics or who want a relativley tame film (by todays standards) about the aspects of racism could do worse.

Groundbreaking Look At Prejudice
Elia Kazan's 1947 film Gentleman's Agreement is the story of a journalist who is employed to write a series of articles on the scourge of anti-Semitism in America. The journalist, Phil Green, is played by Gregory Peck and in order to get his information first hand, he poses as Jew. He encounters all forms of prejudice and his blooming romance with the niece of his publisher takes a hit. Kathy (Dorothy McGuire) insists that she harbors no ant-Semitic feelings finds that through her association with Green, that such prejudices bubble underneath the surface. John Garfield gives a standout performance as Green's lifelong friend, Dave Goldman, who has experience prejudice his whole life and has learned to be philosophical about man's failings, but still is willing to fight against blind ignorance as noted in a gripping scene where he is denied a room in a swanky hotel by an unbearable snooty desk clerk who refuses to admit the reason he won't give Dave a room is that he is Jewish even though it is obviously apparent that is the reason why. Celeste Holm won the Best Supporting Actress award for her role as a fashion writer and socialite who is attracted to Green and heavily pursues him. The film was ground-breaking at the time of its release as it was the first Hollywood movie to tackle anti-Semitism head-on. Prior to World War II, it was an unspoken rule that anti-Semitism could only be hinted at even if a film like The Life of Emile Zola was about it. But over the years, the film has lost a lot of its power and it isn't aided by the fact that many of the characters are stock profiles that exude a one-dimensional feel. Despite that fact, it still is an important film and one that can still teach a lesson as well as entertain. Mr. Kazan won the first of his two Best Directing Oscars and the film won Best Picture in 1947. ... Read more

Reviews (2)

Designing Woman
BORN TO BE BAD is a movie about a designing woman who manages to disrupt the lives of those around her for her own personal gain. Joan Fontaine is the star and she is backed by a strong supporting cast which includes Robert Ryan, Joan Leslie, Zachary Scott and Mel Ferrer. Director Nicholas Ray is known especially for his direction of REBEL WITHOUT A CAUSE.

Born to be a bad film
Misstep by the brilliant director Nicholas Ray is a forgettable and dull melodrama about a scheming woman who destroys everyone around her in her quest to get what she wants. Joan Fontaine (who really is a little too old for the part) stars as Cristabel, a poor relation to a more fortunate cousin, and uses her tacked-on sweetness to worm her way up the social ladder. Joan Leslie makes a welcome break from her ingenue roles in her grown-up part as Cristabel's cousin Donna, a kind and gracious woman whose generosity in taking Cristabel into her home is rewarded by getting stabbed in the back. Zachary Scott plays his usual duplicitous type of character as Curtis, Donna's very wealthy fiancee; and Robert Ryan stars as Luke, a writer who knows Cristabel as she really is, but wants her anyway. Cristabel is as much taken with Luke as he is her, but wants wealth even more so she convinces Curtis that Donna is only after him for his money, and marries him herself instead. Inevitably, Cristabel's true character comes to light, but not before she has succeeded in devastating everyone around her. Routine production which really should have been much better and has no excuse considering the many talents involved, but marginally entertaining to watch if you have nothing better to do--as in my case. ... Read more

Reviews (2)

Though co-starring dogs this is not a dog of a movie.
Far from being the dog of a movie which some critics assert, Billy Wilder's indulgence in Tyrolean kitsch has enhanced entertainment value today, though made 40 years ago. Bing Crosby and Joan Fontaine do, however, co-star with two dogs. The canine dalliance parallels that of their owners. Bing, in adversarial mode, engages with royalty in class-ridden old Vienna, an uppity phonograph salesman determined to sell virtual Strauss on disc to the aristocracy. A tense drama develops around the illicit love affair between Bing's mongrel pooch (aka HMV icon) and the pedigree poodle bitch belonging to Joan, who plays an Austrian Countess. Bing excels as the egalitarian common man, confirming his unacknowledged status as movie's first anti-hero (pre-dating Bogart). Joan convincingly modulates from aloof to alluring. The Emperor gets deeply involved, but don't worry. Bing DOES rescue the mongrel litter and (being himself an Irish-American mongrel) also wins the pedigree girl. Along the way he does some yodelling and also sings. This movie has a strong political message!

Charming Bing at his best in turn-of-the-century Vienna
This is a great movie for husbands and wives to enjoy together. Bing is an American phonograph salesman who takes on the Austrian aristocracy with humor, charm and the character that is only Bing Crosby on the screen. Sets and costumes are also well done. It's a 40's musical that's light and melodious. So make some popcorn, sit down with someone you love and just enjoy the music and fun of it. Bing at least seems to be having a good time doing it. ... Read more

Reviews (7)

like molasses, a little slow but very sweet
Based on Russell Janey's novel, the Ben Hecht/Quentin Reynolds script for this film is sometimes sappy and often uneven, but it's also a nice sentimental story, told in flashback, by William Dunnigan (played in a somber manner by Fred McMurray), a press agent who was never a very happy guy, and is burying the woman he loved (but was never able to tell her so).
The real reason to watch this film is to see Alida Valli play Joan of Arc, in a "film within a film" segment. She is luminous and incredibly beautiful, and would have made a terrific Joan. Coincidentally, the lavish "Joan of Arc" production starring Ingrid Bergman was released the same year as this film.

Another reason to view "The Miracle of the Bells" is to see Frank Sinatra, skinny as a rail, in the unlikely part of a soft spoken priest; this was five years before his success in "From Here to Eternity", and he is surprisingly good, but far from great. He sings "Ever Homeward", a cappella, as he sits among the grave stones; there's a lot of gloomy aspects to the film, one of them being that the setting is a poor coal mining town...though it all has a nice pay-off.
Lee J. Cobb is Marcus Harris, the film producer making "Joan of Arc", and he has the humorous moment in the film with his "I won't stand for any press agent miracles !" rant, which was funny enough to make me laugh out loud, a rarity for me.
Some might say it's improbable that headlines of "Nation Mourns For Movie Star" could ever happen, especially when the "movie star" is unknown, but seeing how today's media obsesses about inconsequential stories, and runs with them for days (nay, weeks !) on end, on a slow news cycle, anything could happen.
Total running time is 120 minutes.

Memorable Movie
Orginally, I saw this movie about ten years ago and it really left an impression on me. It brilliantly grabs the viewer's heart...You would have to be dead not to be touched by this film. I loved it and I'm getting ready to purchase a copy for my 15-year-old daughter to watch. I've shared with her many other classics I've valued in my lifetime, i.e. Jane Eyre (Orson Wells), Wuthering Heights, and Alice Adams. I hope she will treasure the classics as much as I do.

A Feel-Bad Christmas Movie
The first time I saw "The Miracle of the Bells" was a New Year's Eve party in 1980, and man, it was a bring down. Here is a somewhat nasty Fred MacMurray mourning the loss of Valli (from "The Third Man"), who had only just completed filming her Joan of Arc movie, the movie that would have catapulted this obscure nobody into a major star, it seems, but fate would have it otherwise, since she up and died. Frank Sinatra plays against type big time as a gentle young priest. I really disliked this movie, and I bet you would too.

Setzer's Amazing Vocals and Stronger Edge of Music, Yet...
On this '86 effort the Cats try for a little harder rock-a-billy edge.The only problem is that there is nothing really memorable that stands out (except for one country twang-like tune on which Brian Setzer's vocals soar). By '86 the public's interest with Stray Cat strut had started to become diluted. However, because of the type of music or genre the Stray Cats have mastered it is a true collector's keeper. While I do not own the c.d., my vinyl copy is flawless and the track listing is exactly the same (no extras or bonus tracks on the import c.d.).

kinda silly, kinda nice
One theme of this movie is the importance of becoming a movie star. Contrary to one review below, Sinatra does sing in this movie--and tries to act, too (he's pretty wooden, in my own humble opinion). The contention in the movie that the entire American nation would hysterically mourn the loss of an actress they'd never met, seen, or heard of, is, in a word, hysterical. But, all that said, this is a kinda fun movie to watch. VALLI is MAGNIFICENT! She should have played Joan of Arc--watch the movie and you'll see why. I've heard rumors that the film will be re-made with Tom Hanks as the actor and Meg Ryan as the agent! ... Read more