Struggling artist Geoffrey Carroll meets Sally whilst on holiday in the country. A romance develops but he doesn't tell her he's already married. Suffering from mental illness, Geoffreyy ... See full summary »
Millionaire Turner, on his deathbed, leaves a million to Jane Barker. A movie addict who believes life is like the movies, marries Donn without telling him about the bequest. Turner gets ... See full summary »
Frederick De Cordova
Three time loser Duke Berne risks life in prison with one more armored car robbery. His attorney's wife Lorna, Berne's old sweetheart, keeps him from it but he goes to jail anyway. Duke and... See full summary »
Ed Hutcheson, tough editor of the New York 'Day', finds that the late owner's heirs are selling the crusading paper to a strictly commercial rival. At first he sees impending unemployment as an opportunity to win back his estranged wife Nora. But when a reporter, pursuing a lead on racketeer Rienzi, is badly beaten, Hutcheson is stung into a full fledged crusade against the gangster, hoping Rienzi can be tied to a woman's murder...in the 3 issues before the end of 'The Day.' Written by
Rod Crawford <email@example.com>
During the first day of shooting, star Humphrey Bogart admitted to friend and writer/director Richard Brooks that he had been drinking until late in the morning, and had not learned his lines. Earlier in the day, while he had being difficult on the set and resistant to saying his lines (ones he never knew) veteran Ethel Barrymore pushed him to just get on with it, by explaining that 'The Swiss have no navy'. In other words, like actors, they are powerless. See more »
As Rienzi's car drives off after picking up Hutcheson, a large studio light is reflected against the side window of the car. See more »
Richard Brooks' gets a pleasingly weary, stubborn performance by Humphrey Bogart as a big city newspaper editor who is under fire for several different reasons, from at least as many directions, and yet never loses his cool. If anything, the events of the film strengthen his resolve and beef up his already formidable sense of journalistic integrity, which is what the movie is all about. This is a satisfying, unremarkable film directed and written by a man who knew whereof he wrote and directed. Aside from Bogart there is good work from among others Kim Hunter, Paul Stewart, Jim Backus, Martin Gabel and Bill Bouchey. Director-writer Brooks lovingly explores the interior of the building that houses the newspaper, from press room to boardroom. We get a sense of a city within a city, and also of men and women under pressure, doing the best they can. As the story unfolds the building becomes something like a castle under siege, and the relationships between the characters, whether major or minor, become precious to us, as the sense of community within the newspaper's staff becomes increasing apparent, and we are impressed by this unique fraternity of newspapermen, who in the end come to seem like an order of knights in the troubled urban jungle.
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