Written by Laura Z. Hobson
Screenplay by Moss Hart
Producer: D. Zanuck
Director: Elia Kazan
The title of the film, Gentleman's Agreement, refers to an
invidious kind of racism/discrimination that was rampant (perhaps
still exists) in the US during the first half of the century:
agreements among the 'right' kind of people to refuse to sell, or
allow less desirables, in this case Jews, to the 'wrong' kind of
people. It effectively captures what this film is about, the
subtler forms of discrimination, that create a kind of separatism,
and exclusive club for only those with the right credentials.
Released at a time when anti-semitism was still very strong and
apparent in this country, the film attempts to show the human
side to discrimination (anti-semitism), both in terms of how it
gets perpetuated and what its effects are on those discriminated
against.
The film is a story about a writer, Phil Green (Peck), who moves
to NYC to work on a weekly magazine, and is given the task of
writing something new and fresh on the topic of anti-semitism by
his editor John Minfy (Albert Dekker), a rather vocal critic of
anti-semitism. Within a few short days of arriving in the city,
Green meets and becomes involved with a new love, Kathy Lacey (Dorothy
McGuire), a young divorcee who happens to be the niece of his
editor.
As Green struggles to find the 'hook' to his story on anti-semitism,
he's fast cementing his relationship with Kathy, and getting his
mother and son settled in their new apartment. His mother, played
by Anne Revere (in a very strong and loving role), helps him find
that hook he needs through her conversations with him. The hook
will be Green "living" the life of a Jew, and getting
the inside view of what it feels like to have the world think him
Jewish.
26048. MsIvoryTower - July 14,
1999 - 1:09 PM PT
Of course, this is both the source of his dawning understanding
of just what anti-semitism really meant to the everyday lives of
Jews, and also his conflict with Kathy, his love. The experience
changes him, makes him more passionate and absolutist in his
fight against the injustice of anti-semitism and he wants to
bring Kathy along with him. Of course, she doesn't want to go.
She want's safety, she doesn't want to rock the boat, and she
doesn't want to challenge anyone, even though she talks the 'just'
message.
The movie then, chronicles Green's transformation from an
outsider to the pervasiveness of invidious discrimination, the
kind with a smile on its face, to exposure to all its myriad
facets and ugliness.
Along the way, he is supported by this absolutely wonderful
relationship with his mother, his childhood friend Dave (a Jew),
and a colleague in the form of another young woman who loves him
without his knowledge (Celeste Holm, who won the Best Supporting
Actress Oscar for 1947).
The film is riddled with long, passionate speeches, righteous
indignation at the petty injustices, and the human pain of anti-semitism.
And while the film is somewhat dated because of that focus on
anti-semitism and the changes in our attitudes (as a society)
since then, I still found that it was moving, and deserving of
the Best Picture Oscar it won.
26049. MsIvoryTower - July 14,
1999 - 1:22 PM PT
More personal refections:
Peck was wonderful in this role (although not as wonderful as he
was in TKAM and Roman Holiday), passionate without looking loony,
and heroic in the sense that he knew what was right and wrong and
was unwilling to compromise his principles.
Dorothy McGuire had the thankless job of being the weakest of the
three female characters in this film, and of being the kind of
woman who would never have acted against injustice of the kind
illuminated in this story without a more principled man like
Green at her side. I found this unpleasant, but completely
believable.
Celeste Holm was spectacular as a forthright, engaging career
woman who had the kind of easy comaradery, acceptance, with men
most women would have felt extremely uncomfortable with given the
time of the film. Her principles most closely aligned with Peck's
character, but true to the times, he wasn't interested in her
romantically.
The best female role in this film, IMO, went to Anne Revere, as
the mother. In watching this film again, I was struck by how
close, loving and honest the relationship was between her and
Peck. No excuses for Peck living with her, no excessive emotional
scenes between them, and he unabashedly appreciated and respected
her, not only as his mother, but also as a confidante and
intellectual sounding board. I don't think too many films reveal
such a deep, loving and respectful relationship between men and
their mothers, and I found this quite moving.
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