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The Clock (1945)

Passed | | Drama, Romance | 25 May 1945 (USA)
In 1945, during a 48-hour leave, a soldier accidentally meets a girl at Pennsylvania Station and spends his leave with her, eventually falling in love with the lovely New Yorker.

Directors:

, (uncredited)

Writers:

(screenplay), (screenplay) | 2 more credits »
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Cast

Complete credited cast:
...
...
...
...
...
...
Ruth Brady ...
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Storyline

Soldier Joe Allen is on a two-day leave in New York, and there he meets Alice. She agrees to show him the sights and they spend the day together. In this short time they find themselves falling in love with each other, and they decide to get married before Joe has to return to camp. Written by Leon Wolters <wolters@strw.LeidenUniv.nl>

Plot Summary | Add Synopsis

Taglines:

Every second a heart-beat See more »

Genres:

Drama | Romance

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

Release Date:

25 May 1945 (USA)  »

Also Known As:

48 timmar  »

Box Office

Budget:

$1,324,000 (estimated)

Gross:

$2,783,000 (USA)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

This film was first telecast in Los Angeles Friday 1 February 1957 on KTTV (Channel 11); it first aired in Chicago 1 April 1957 on WBBM (Channel 2), followed by New York City 13 April 1957 on WCBS (Channel 2) and by Philadelphia 19 April 1957 on WFIL (Channel 6); in San Francisco it first aired 5 February 1958 on KGO (Channel 7) and in Minneapolis 11 April 1960 on WTCN (Channel 11). See more »

Goofs

In long shot, the milk truck is a 1937-1939 Stutz Pak-Age-Kar. No paint stripes down the hood, no large name badge, square front windscreens, twin bright bumper guards.When it arrives, its a 1939-1942 White Horse van,with heavy bumper over-riders, slanted windscreens,large badge and lettering on the front.Vehicles are mixed through rest of scenes involving milk trucks. See more »

Quotes

Corporal Joe Allen: Alice, would you break that date tonight?
Alice Maybery: Yes.
Corporal Joe Allen: Oh! Where will I meet you?
Alice Maybery: Under the clock at the Astor at seven.
Corporal Joe Allen: Where?
Alice Maybery: Under the clock at the Astor at seven.
Corporal Joe Allen: What?
Lady on Bus: Under the clock at the Astor at seven.
See more »

Connections

Featured in American Masters: Judy Garland: By Myself (2004) See more »

Soundtracks

If I Had You
(uncredited)
Music by Ted Shapiro, Jimmy Campbell and Reginald Connelly
Heard as background music
See more »

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User Reviews

 
A poignant wartime romance that approaches perfection
13 June 2003 | by (Western New York) – See all my reviews

Maybe the most idyllic of those ‘40s movies that confected a storybook New York City on the back lots of Hollywood studios, The Clock tells the story of a whirlwind wartime romance so simply and deftly that it's almost mythic – like a legend Ovid might have recounted. It also preserves the first adult dramatic role, with nary a note nor a time-step, Judy Garland was to undertake, under the Lubitsch-like touch of her director (and new husband) Vincente Minnelli. Trusting his wife to hold the screen on her own merits, he toned down or tossed away the busy stage business so characteristic of the decade, ending up with something purified – close to perfect.

Indiana small-town boy Robert Walker, on a short leave from the Army before being shipped overseas, loiters in Pennsylvania Station when Garland trips over his gangly legs and breaks a heel. It's classic MGM `meet-cute,' but Minnelli doesn't milk it – they get the heel fixed and find themselves strolling through Manhattan. Though on the verge of diplomatically ditching him, impatient with his diffident, aw-shucks ways, Garland politely hangs on until finally she has to catch a bus home; she consents to meet him later, under the clock at the Astor Hotel, for a real date.

Her chatterbox of a roommate upbraids her for letting herself be `picked up' by a man in uniform, and Garland dithers but finally shows up half a hour late. They spend a stiff evening together, filled with awkward pauses and edgy moments of friction, but end up talking under the stars in Central Park. Having missed the last bus home, they accept a lift from a milkman. In a sequence that comes close to cliché but pulls up short, they spend the night together – delivering bottles throughout the city for their suddenly incapacitated driver. Next morning, they lose one another, thanks to the subway system, ultimately reunite and, after running an obstacle course festooned with red tape, marry, confident that the future will find them reunited once more.

There's not much incident, much action, and what there is Minnelli metes out judiciously. As a drunk who precipitates the incident that throws them together for the night, Keenan Wynn contributes a bravura turn (surely improvised) that teeters on the borderline between funny and obnoxious. As the milkman and his wife, who feeds them a farmhands' breakfast, James and Lucile Gleason offer the young lovers a preview of how young lovers become old friends (as well they might, since the actors were one another's spouses).

Only in the difficulties they encounter in trying to get hitched – licenses, blood tests, civil servants' prerogatives – does the does the story threaten to careen off into frantic farce. But Minnelli reaches beyond that to find the urgency, the sickening sense that they might fail – and Garland heart-wrenchingly sums it up afterwards, at an ominously quiet wedding dinner at an automat, when she cries `It was so...ugly!' But after that discordant note Minnelli, ever the Italian, strives for consonance, and finds it in an empty church where Garland and Walker softly recite the marriage ceremony in a pew. Here, Minnelli adds his own benediction: An altar boy obscures the silent couple, sitting quietly in the background, as he enters to extinguish the candles, one by one.


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