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The Big Clock (1948)

Approved | | Crime, Drama, Film-Noir | 9 April 1948 (USA)
When powerful publishing tycoon Earl Janoth commits an act of murder at the height of passion, he cleverly begins to cover his tracks and frame an innocent man whose identity he doesn't ... See full summary »

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(screenplay), (novel)
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2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Earl Janoth
...
...
Steve Hagen
...
Pauline York
...
Louise Patterson
Harold Vermilyea ...
Don Klausmeyer
...
Ray Cordette
...
Bill Womack (as Henry Morgan)
...
Nat Sperling
Elaine Riley ...
Lily Gold
Luis Van Rooten ...
Edwin Orlin
...
McKinley
...
Burt
Margaret Field ...
Second Secretary
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Storyline

When powerful publishing tycoon Earl Janoth commits an act of murder at the height of passion, he cleverly begins to cover his tracks and frame an innocent man whose identity he doesn't know but who just happens to have contact with the murder victim. That man is a close associate on his magazine whom he enlists to trap this "killer" - George Stroud. It's up to George to continue to "help" Janoth, to elude the police and to find proof of his innocence and Janoth's guilt. Written by Ron Kerrigan

Plot Summary | Plot Synopsis

Taglines:

Unanimously acclaimed as the super-suspense hit! See more »


Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

9 April 1948 (USA)  »

Also Known As:

Spiel mit dem Tode  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

When producer Richard Maibaum first came on the set, director John Farrow who liked to intimidate people who worked with him, kept him at a distance by using a walking stick. Maibaum turned around, went to the props department and returned with a baseball bat. As if a spell were broken, the situation immediately improved and Maibaum and Farrow would go on to have an excellent working relationship. See more »

Goofs

At the magazine staff meeting right after an investigator has visited Louise Patterson and gotten the name of "the blonde woman", the shadow of the boom microphone can be seen moving on the upper left of the chalkboard frame. See more »

Quotes

George Stroud: I thought he was only interested in clocks?
Pauline York: Maybe I have a clock.
See more »

Connections

Edited into The Clock (2010) See more »

Soundtracks

The Wearin' of the Green
(uncredited)
Traditional
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User Reviews

Good Film Noir With Fine Cast, Complicated Plot
15 May 2001 | by (Ohio) – See all my reviews

"The Big Clock" takes some chances with unusual characters, and with complicated and sometimes outlandish plot developments, but it holds together well to produce a generally satisfying, and always interesting, suspense film. A fine cast makes us both believe in and identify with the characters, and good direction by John Farrow keeps the film moving, and blends together what otherwise could have been a lot of incongruous plot devices.

Ray Milland is a vital part of the film's success in his role as George Stroud, the editor of a crime magazine who has an amazing talent for tracking down elusive criminals. Already caught in a conflict between his neglected wife and his domineering employer, Stroud finds himself asked to direct a search for an unknown murderer in a case where, because of a chain of circumstantial evidence, all the clues point back to himself. What the audience knows, but Stroud does not, is that the real killer is his boss, played with panache by Charles Laughton, who is obsessed with time and whose proudest creation is a gigantic clock that dominates the publishing house that he runs. The title refers literally to this clock, and perhaps metaphorically refers to the urgency faced by Milland's character as he fights against time trying to extricate himself from his troubles. Milland nicely underplays all of this, and communicates his dilemmas with a lot of credibility.

The supporting cast is an important part of the film, as they must bring life and credibility to a series of oddball plot elements, and they are all quite good. Especially noteworthy is Elsa Lanchester's performance as an eccentric artist whose paintings become one of the clues to the crime. Lanchester is simply wonderful in her scenes, and the movie would be worth watching over again for those alone.

"The Big Clock" is a good example of a "film noir", and will be most enjoyed by those who are fans of the way films of the genre were made in their heyday. But it would also be a good choice for anyone who likes crime/mystery stories and who is willing to look at the way such films were made in an earlier era. After watching "The Big Clock", you might want to see more of them.


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