I love this movie, and consider it one of the finest examples of
"issue" films ever made. Despite the fact that the
subject, anti-Semitism, is no longer on our top ten list of
active social problems, it set a standard which has rarely been
met in the years since. (I have been trying to think of any
earlier major issue films--as opposed to propoganda--and can come
up with none. Suggestions?)
I enjoy that the movie takes its time. It was a good 30-40
minutes in before Phil figures out the "hook" for his
piece. You get to meet Kathy, see her for the charmer she is,
watch them fall in love, see Phil with his boss, watch him work,
watch them move into their home, hear about Phil's good friend
Dave, and watch this very close, loving family unit. And then
Phil decides to become Jewish.
And then, the exposure of the ugly stuff doesn't come all at once,
but slowly. I also love the way the movie surprises. The boss
comes through, all the way, with the courage of his convictions.
I particularly liked his shame at the discovery that his own
company was discriminating against Jews--and his protection of
that secretary, knowing the possibility she might get fired later.
It is interesting to consider the secretary's role as it must
have been viewed at the time. By now, we're used to all the
portrayals of minorities who join in the hatred. But at the time,
I think it was very unusual and it was a very brave portrayal by
June Havoc (trivia note: June is Gypsy Rose Lee's sister, played
by Ann Gillian in the movie Gypsy).
As unpleasant as it is to watch the cracks show in Kathy, she's
the pivotal character and it is essential that she not appear too
obvious, too manipulative. Because, of course, she's not. She has
to play someone who doesn't like the way she sounds, and can't
figure out why everything sounds so odd because, of course,
"she's not like that". Major kudos to Dorothy McGuire,
who has always been an underrated actress. Note the hasty way she
backfills and speeds up unpleasant sentences, rewording and
replaying the same thought several times. She often doesn't pause
for assent but moves on as if it is given, because she doesn't
want to hear, really, whether or not Phil thinks it's "reasonable"
that she tell her sister that she's not really engaged to a Jew,
that Dave really wouldn't be happy living in her house, that
really it's normal that she's happy she's not Jewish. To this day,
it remains one of the best portrayals ever of that genteel,
insidious prejudice that still plagues us today.
The copout of the movie, of course, is that all this brave girl
has to do in order to get Gregory Peck is let Dave and his family
live in her house. Then all is forgiven and the hero loves her.
Leaving poor Celeste Holm, who hasn't a biased bone in her body,
who is *naturally* the fighter that McGuire couldn't be on her
best day, alone in the cold. Tragic ending; I don't give a damn *how*
realistic it is.
GA keeps speechifying down quite well for the type--the best
putdowns aren't angry lectures, but Celeste Holm's biting, funny,
effective oneliners. It has three explanation scenes that still
work very well today--Gregory Peck explaining about anti-Semitism
to his son over the breakfast table, the later scene with his son
after he's harassed, and the Garfield/McGuire scene at the end
("But what did you *do*?"). All three hold up
beautifully, with only the Garfield one tipping a tad over onto
the lecture side of things.
Performances are all solid; Peck manages vulnerability very well,
and the movie takes care to show that he has soft spots. Revere
is truly fine. Holm is a joy; she shudda been the winner; the
fight was rigged. (and no, I'm not speaking of the Oscar).
Garfield is always marvellous; he explodes in rage at the bum in
the bar, making a mockery of all his cynical acceptance speeches
to Peck, but still has the patience to reach out to McGuire at
the end, without ever looking opportunistic. I wish he hadn't
died so young. Stockwell, in the first of his three career lives,
is marvellous; I've always thought his standing as a superb child
actor has been overlooked by the fact that he didn't die or fade
from existence.
I think the reason the movie ages so well (relatively speaking)
is because it is not a lecture about the evils of anti-Semitism.
Rather, it is a portrayal of the impact it has on one man, a man
who is paying attention because it is so new to him. As such, it
focuses a great deal on the man and his relationships--and it
portrays relationships beautifully.
The Ms mentions his relationship with his mother; I agree with
all her comments. However, just as well portrayed and *incredibly*
rare is the relationship between Peck and his son, played by Dean
Stockwell in the first of his three career phases. A single
father with his son who isn't incompetent, looking for a wife,
and not hamstrung by either practical or emotional issues. He is
a loving, nurturing father and the movie presents this without a
single quibble--the scene where he washes the tears off his boy's
face, holds him, then gets him a glass of water and explains
things is just so fine.
A very good movie for children, incidentally. Spawn was very
interested in it. It's too easy these days for kids to identify
blatant prejudice; this movie is an excellent means of cluing
them in on the kind that's tougher to spot.
Response to Review
