Sunday, January 24, 2010

#87: The Big Clock (John Farrow, 1948)

Released: April 9, 1948

Director: John Farrow; Screenplay: Jonathan Latimer based on a story by Kenneth Fearing; Cinematography: Daniel L. Fapp and John F. Seitz; Music: Victor Young; Producers: John Farrow and Richard Maibaum; Studio: Paramount Pictures

Cast: Ray Milland (George Stroud), Charles Laughton (Earl Janoth), Maureen O’Sullivan (Georgette Stroud), George Macready (Steve Hagen), Rita Johnson (Pauline York), Elsa Lanchester (Louise Patterson), Harry Morgan (Bill Womack

- “He doesn't want to let his left hand know whose pocket the right one is picking.”

Among those that have seen it, I’m guessing that they rank this one a bit higher than I do here. It is certainly an engaging mystery. The central storyline, of ace reporter George Stroud using his team of investigators to examine a murder, continually turning up evidence that points the finger at Stroud himself, is highly entertaining. It is due to minor subplots and some of the acting witnessed along the way that this convoluted murder mystery is not inching toward the top 50 or 60.

Ray Milland stars as George Stroud, the editor of Crimeways Magazine, a publication following crime throughout the nation that is renowned for the ability of its staff to track down fugitive criminals. Crimeways is owned by publishing tycoon Earl Janoth (Charles Laughton), a tyrannical millionaire who demands absolute subservience from the employees at his many publications. When George is on the verge of leaving for a much-awaited vacation with his wife (Maureen O’Sullivan), Janoth insists that he delay the vacation even longer to stay at the office and work one more story. When George quits the magazine in response to Janoth’s bullying tactics, he goes to a local bar for a drink. There, he meets a woman named Pauline (Rita Johnson) and spends the evening with her, standing his wife up at the train station. The next morning, Pauline shockingly turns up murdered. George realizes that he could easily be identified as having been with Pauline the night before her death. When Janoth calls to get him to return and work the case, he decides to return to Crimeways, in order to throw his staff off of his trail and try to catch the true murderer before he is suspected.


Sound convoluted? It is, and this is part of what lends it such a noir feel. Stylistically, it does not boast the usual abundance of dramatic lighting and abstract compositional elements. But I think it most certainly qualifies. The story is told in flashback, from the point of view of George as he is hiding in a dark corridor and recounting his harrowing situation. That most classic of noir scenarios – a regular guy being thrust into horrible predicaments by chance or an innocuous meeting – is played out as George slowly begins to realize that Janoth is manipulating evidence along the way. I still consider Laughton to be one of the premier actors in the history of cinema and he plays the megalomaniac publisher very well. Some of the mannerisms adopted for the role are a bit over the top – such as always rubbing his mustache – and add a cheese-factor to some scenes. On the whole, though, performances are generally solid, although none are exactly standouts.

The most impressive aspect of the film to me is the overall design and look of the publishing industry. And by look, I’m not referring strictly to cinematography, as is normally my focus. I mean the entire set design and atmosphere created in the Janoth building, particularly the massive Janoth clock on the front of the headquarters, from which the movie derives its title, and where George is hidden as he recounts the story. I love how Farrow uses a simple elevator ride to introduce various magazines in the Janoth publishing empire, showing how the man has a publication to cover almost any topic imaginable. It creates a unique impression of the cutthroat, ultra-competitive world of publishing, painting leaders in the field as shady characters.

It is also worth nothing that the script by Jonathan Latimer is also able to incorporate a bit of humor into the murder mystery. Most of this comes from Elsa Lanchester’s Louise Patterson character, the eccentric artist. Lanchester was also at this time the real-life wife of Charles Laughton.

10 comments:

  1. I have seen and even own this DVD and I don't think much of this film. My main problem is that it's mood is too light to feel like a proper noir. It reminds me of one of Hitchcock's lighter (and slight) chase films. On a technical level it is superb and very nice to look at but some of the performances also bother me (Lanchester especially). I was so disappointed when I first watched this because it does have a strong reputation and I assumed that it would be an essential noir that I would love. I think your placement is fair because it is very well made but not a classic.......M.Roca

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  2. >> Among those that have seen it, I’m guessing that they rank this one a bit higher than I do here.

    Yeah, I guess I do, though, of course, I never made a film noir rating of my own.

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  3. Oh yeah, and this is a misprint of some sort:

    >> Most of this comes from Elsa Lanchester’s Louise Patterson character, the eccentric artist wife of Janoth.

    Elsa Lanchester was the real-life wife of Charles Laughton, but her character, Ms. Patterson, was not the wife of Janoth, but of another guy (he is revealed at the end).

    And another one:

    >> When George is on the verge of leaving from a much-awaited vacation with his wife...

    It should be "leaving for a... vacation."

    Sorry about the gripe, I always enjoy your reviews. Thank you very much for them.

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  4. Quirky Character - Excuse any typos... this one didn't get the usual proofreading, thanks to a pain in the ass of a sore throat. They have been fixed.

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  5. No Dave, I feel you have it in a perfect numerical position here. Farrow's best film (noir or otherwise in fact) is ALIAS NICK BEAL, which may well place higher on your list, but the breezier and lighter THE BIG CLOCK as you note, does still exhibit some craftsmanship, including the flashback structure and the generally solid performances. Lancaster is always a scene stealer. Excellent capsule consideration here!

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  6. Dave, I'd have to choose between this and His Kind of Woman as my favorite Farrow film. I dug the ultramodern look of that building and was really impressed by how menacing a mute Harry Morgan could be. George Macready is also a standout here. Between this and Paths of Glory I've learned to keep an eye on him.

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  7. Another decent film with a good cast. I have watched this a few times and ti holds up under repeated viewing.

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  8. Thanks guys. Farrow is a very solid director and he will be heard from again in the future.

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  9. Dave:

    So great to see this film on your list. I first saw Joe Dante's personal print at a public screening in Los Angeles and really loved it. It's one of my favorite Laughton performances. I also couldn't agree with you more here:

    "The most impressive aspect of the film to me is the overall design and look of the publishing industry. And by look, I’m not referring strictly to cinematography, as is normally my focus. I mean the entire set design and atmosphere created in the Janoth building..."

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  10. Jeffrey - Thanks for stopping by. That sounds like it would have been great to see this one a big screen. Thanks for the compliments on the writeup and please keep checking in on the countdown!

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