A cattle baron takes in an orphaned boy and raises him, causing his own son to resent the boy. As they get older the resentment festers into hatred, and eventually the real son frames his ... See full summary »
A district attorney investigates the racially charged case of three teenagers accused of the murder of a blind Puerto Rican boy. He begins to discover that the facts in the case aren't ... See full summary »
The Skipper is a charming old man loved by all his neighbors. What they don't know is that he is also Mr. 880, an amateurish counterfeiter who has amazingly managed to elude the Secret ... See full summary »
Sgt. Mike Kincaid of the French Foreign Legion learns, from a Riff prisoner, that an attack will soon be made by the villainous Hussin on the Legion's outpost of Tarfa. Kincaid volunteers ... See full summary »
All My Sons tells the story of Joe Keller, a successful, middle-aged, self-made man who has done a terrible and tragic thing. He framed his business partner for a crime and engineered his own exoneration. Now, his son is about to marry the partner's daughter, the affair is revisited, and his lie of a life is unraveled. Written by
"Screen Director's Playhouse" broadcast a 30-minute radio adaptation of the movie on December 2, 1949 with Edward G. Robinson reprising his film role. See more »
When Joe comes out of the house upon Annie's arrival, he comes down the front steps and walks into the yard with his arms raised. In the next instant, he's back at the steps and his arms are down. See more »
Put her to bed, Joe. Both of you go to bed. Staying up won't help; sleep will. Sleep's a wonderful thing, the best thing about living.
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Since this movie had no particular reputation, I expected a somewhat ho-hum adaptation of Arthur Miller's play. In fact, the movie somewhat improves on the play. It's not afraid to be a little more "superficial" than the play, opting less for profundity than for solid melodrama, and I do mean solid. Robinson is superb, but the real surprise for me was the unshowy, very subtle (for him) performance by Lancaster, never a favorite of mine in his latter-day, hammy period. Here he seems content to be an ensemble player, supporting Robinson and playing a relatively quiet, Gary Cooper sort of role, and therefore he comes off more of a genuine star than usual. When he does finally explode in physical violence, the effect is truly shocking.
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