The Informer is directed by John Ford and adapted by Dudley Nichols from the story written by Liam O'Flaherty. It stars Victor McLaglen, Heather Angel, Preston Foster, Margot Grahame, Wallace Ford & Una O'Connor. Max Steiner scores the music and Joseph H. August is the cinematographer.
1922, the Irish War of Independence, and Gypo Nolan (McLaglen) informs on his friend Frankie McPhillip (W Ford), a prominent member if the IRA. Collecting his reward money from the "Black & Tans," Nolan plans to start a new life in America with his girlfriend Katie Madden (Grahame), but as he gets drunk and starts to flash the cash, the Republican Army start to close in on Gypo....
Some of the best reviews of his career were given to John Ford for The Informer, a film that was also a big hit at the Academy Awards, where it won for Best Director, Best Actor, Best Writing (screenplay) and Best Score. Its reputation over the decades has remained mostly positive, tho time has shown it to not be the masterpiece many lauded it as at the time. Ford directs with force, a force matched by McLalgen, and the writing is intelligent (tho it should be noted that Ford & Nichols considerably toned down the source story). The work of August nods toward German expressionism, with shadows, smog and low lights neatly making the sets actually look like 1920s Dublin. While Steiner's score is tonally correct and McLaglen is well supported by Grahame and Foster.
However, Ford's psychological study on a modern day Judas, lacks the power today that the critics felt it had on release. It at times is what it is, McLaglen getting boozed up and getting louder and louder the drunker he gets. It's only when put under pressure by the IRA that McLagen really gets to show some acting gravitas, forced to town down and show Gypo to be the unfortunate and well meaning oaf that he is, McLaglen earns his plaudits; but is it the rich characterisation it was heralded as? Debatable, and no doubt about it, this lacks the complexity and ambiguity that shows up in many of Ford's greatest film's. Absent, too, is any great dramatic thrust, particularly in regards to the finale. Still, all things considered, it's still a fine piece of work, even if it now can't hope to live up to the reputation afforded it back in the 30s. 7/10
1922, the Irish War of Independence, and Gypo Nolan (McLaglen) informs on his friend Frankie McPhillip (W Ford), a prominent member if the IRA. Collecting his reward money from the "Black & Tans," Nolan plans to start a new life in America with his girlfriend Katie Madden (Grahame), but as he gets drunk and starts to flash the cash, the Republican Army start to close in on Gypo....
Some of the best reviews of his career were given to John Ford for The Informer, a film that was also a big hit at the Academy Awards, where it won for Best Director, Best Actor, Best Writing (screenplay) and Best Score. Its reputation over the decades has remained mostly positive, tho time has shown it to not be the masterpiece many lauded it as at the time. Ford directs with force, a force matched by McLalgen, and the writing is intelligent (tho it should be noted that Ford & Nichols considerably toned down the source story). The work of August nods toward German expressionism, with shadows, smog and low lights neatly making the sets actually look like 1920s Dublin. While Steiner's score is tonally correct and McLaglen is well supported by Grahame and Foster.
However, Ford's psychological study on a modern day Judas, lacks the power today that the critics felt it had on release. It at times is what it is, McLaglen getting boozed up and getting louder and louder the drunker he gets. It's only when put under pressure by the IRA that McLagen really gets to show some acting gravitas, forced to town down and show Gypo to be the unfortunate and well meaning oaf that he is, McLaglen earns his plaudits; but is it the rich characterisation it was heralded as? Debatable, and no doubt about it, this lacks the complexity and ambiguity that shows up in many of Ford's greatest film's. Absent, too, is any great dramatic thrust, particularly in regards to the finale. Still, all things considered, it's still a fine piece of work, even if it now can't hope to live up to the reputation afforded it back in the 30s. 7/10