Small-town Indiana girl Lily Mars dreams to be a stage actress. She begs visiting Broadway producer John Thornway for a role but he dismisses her as an amateur. She follows him to New York and worms her way into his show, and his heart.
Rich kid Danny Churchill (Rooney) has a taste for wine, women and song, but not for higher education. So his father ships him to an all-male college out West where there's not supposed to ... See full summary »
Andy's girlfriend Polly is planning to spend Christmas at her grandmother's, which puts a kink in his plans to take her to the country club Christmas party. He agrees (for a fee) to pretend... See full summary »
On a train trip West to become a mail order bride Susan Bradley meets a cheery crew of young women traveling out to open a " Harvey House " restaurant at a remote whistle stop to provide ... See full summary »
It's turn of the century America when Andrew and Veronica first meet - by crashing into each other. They develop an instant and mutual dislike which intensifies when, later on, Andrew is ... See full summary »
Jimmy Connors and his girl-friend want to take part in Paul Whiteman's highschool's band contest, but they cannot afford the fare. But per chance the meet Paul Whiteman in person and are ... See full summary »
Paul Whiteman and Orchestra
Jenny Bowman is a successful singer who, while on an engagement at the London Palladium, visits David Donne to see her son Matt again, spending a few glorious days with him while his father... See full summary »
Discovery by Flo Ziegfeld changes a girl's life but not necessarily for the better, as three beautiful women find out when they join the spectacle on Broadway: Susan, the singer who must ... See full summary »
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>
This film was first telecast in Los Angeles Friday 1 February 1957 on KTTV (Channel 11); it first aired in Seattle 8 March 1957 on KING (Channel 5), in Hartford CT 23 March 1957 on WHCT (Channel 18), in Chicago 1 April 1957 on WBBM (Channel 2), in New York City 13 April 1957 on WCBS (Channel 2) , in Philadelphia 19 April 1957 on WFIL (Channel 6), in Altoona PA 3 May 1957 on WFBG (Channel 10), in Portland OR 5 May 1957 on KGW (Channel 8), in Phoenix 9 June 1958 on KPHO (Channel 5) and in Miami 9 July 1957 on WCKT (Channel 7); 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 »
As Joe and Alice walk through the museum, Joe isn't carrying their bags but there was no scene of them storing them somewhere during their visit. See more »
Sometimes when a girl dates a soldier she isn't only thinking of herself. She knows he's alone and far away from home and no one to talk to and... What are you staring at?
Corporal Joe Allen:
You've got brown eyes.
See more »
Also shown in computer colorized version. See more »
A poignant wartime romance that approaches perfection
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.
22 of 22 people found this review helpful.
Was this review helpful to you?
| Report this