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The Man in the Gray Flannel Suit (1956)

Approved | | Drama, Romance, War | 8 May 1956 (USA)
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An ex-soldier faces ethical questions as he tries to earn enough to support his wife and children well.

Director:

Nunnally Johnson

Writers:

Nunnally Johnson (screenplay), Sloan Wilson (novel)
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1 win & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Gregory Peck ... Tom Rath
Jennifer Jones ... Betsy Rath
Fredric March ... Ralph Hopkins
Marisa Pavan ... Maria Montagne
Lee J. Cobb ... Judge Bernstein
Ann Harding ... Helen Hopkins
Keenan Wynn ... Sgt. Caesar Gardella
Gene Lockhart ... Bill Hawthorne
Gigi Perreau ... Susan Hopkins
Portland Mason Portland Mason ... Janey Rath
Arthur O'Connell ... Gordon Walker
Henry Daniell ... Bill Ogden
Connie Gilchrist ... Mrs. Manter
Joseph Sweeney Joseph Sweeney ... Edward M. Schultz
Sandy Descher ... Barbara Rath
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Storyline

Tom Rath lives in Connecticut and commutes to work every day in Manhattan. He's happily married and has a loving wife and three children. Money is a bit tight and when the opportunity arises, he applies for a public relations job with a major television network. During his long commute to work everyday, Tom reminisces about the war. Although 10 years have gone by, he is still haunted by the violence and the men he killed. He also thinks of Maria, an Italian girl with whom he had an affair while stationed in Rome. At his new job, the head of the network Ralph Hopkins takes an immediate liking to him. Tom soon realizes that he will have to choose between becoming a wholly dedicated company man or maintaining a healthy work-life balance. When he learns that Maria gave birth to his son after he left Italy, he decides to let his wife know and ensure that the boy is cared for. Written by garykmcd

Plot Summary | Add Synopsis

Taglines:

The year's most dramatic book...the year's most distinguished picture! See more »

Genres:

Drama | Romance | War

Certificate:

Approved | See all certifications »
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Details

Country:

USA

Language:

English | Italian | German

Release Date:

8 May 1956 (USA) See more »

Also Known As:

Der Mann im grauen Flanell See more »

Filming Locations:

New York City, New York, USA See more »

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Box Office

Budget:

$2,670,000 (estimated)

Gross USA:

$10,875,000
See more on IMDbPro »

Company Credits

Production Co:

Twentieth Century Fox See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

4-Track Stereo (Westrex Recording System)

Color:

Color

Aspect Ratio:

2.55 : 1
See full technical specs »
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Did You Know?

Trivia

The trailer for 1957's "Peyton Place" used Bernard Herrmann's music from the soundtrack of "The Man in the Gray Flannel Suit". When Peyton Place was finally released, it had a score by Franz Waxman. See more »

Goofs

In the film, Tom Rath and his paratroopers belong to the 509th Parachute Infantry Battalion, which actually saw combat in Italy during World War II. In reality (unlike the film), the 509th did not get sent to the Pacific Theater to fight the Japanese (or make a combat jump there) after the battalion's tour in Italy was over. See more »

Quotes

Tom Rath: I don't know anything about public relations.
Bill Hawthorne: Who does? You've got a clean shirt and you bathe every day. That's all there is to it.
See more »

Connections

Referenced in Indie Sex: Censored (2007) See more »

Soundtracks

(I'm a) Ramblin' Wreck from Georgia Tech
(1908) (uncredited)
Lyrics by Billy Walthall
Music by Frank Roman and Mike Greenblatt
based on "Son of a Gambolier"
Music by Charles Ives (1895)
Played on the ukulele by Gregory Peck
See more »

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User Reviews

a great movie in need of better editing
11 April 2001 | by DtkoyzisSee all my reviews

I had trouble finding this film in the local video store but finally saw it on television. It's well worth watching. It's a wonderful commentary on the American suburban corporate culture emerging in the years following the second World War. Peck plays the stereotypical businessman living in Connecticut and taking the New Haven Railroad into New York City each day. He is faced with a number of seemingly mundane dilemmas, such as settling a deceased relative's estate, how to deal with a dissatisfied wife more ambitious than he, whether to switch jobs for better pay, and whether he should tell his new boss what he *needs* rather than *wants* to hear. Hanging over him are the ever-present memories of his wartime combat experience, which intrude on him occasionally – especially during those otherwise empty hours spent commuting on the train.

I disagree with the reviewer who found the film boring apart from the war scenes. One of the reasons why this film works so well is that it regularly jolts the viewer, nearly lulled into complacency by the apparent ordinariness of suburban life, with those sudden flashbacks of the horrors of war. The juxtaposition of these quite different scenes was quite deliberate and speaks volumes in itself. How is it possible for someone who has spent four years both killing and avoiding death to settle into a normal life of family and work? Obviously it's not easy.

Furthermore, death continues to haunt the family in various, almost light-hearted ways, particularly by way of the children who were born after the carnage had ended and for whom death is no more real than the gunfights in those television westerns to which they are so conspicuously addicted. A scene near the beginning has one of the girls suffering from chicken pox, a fairly minor malady, as everyone knows. But she tells her father she has "small pox" and her sister keeps teasing her with the morbid suggestion that she is going to die. The father tells her to stop, but she keeps it up. He knows what death is all about; his children do not.

The term "workaholic" had not yet been coined in 1956, but the contrast between the man who chooses a fuller, less driven life – including time for family – and the man married to his career could not have been more starkly portrayed. The viewers find themselves applauding the choice Peck eventually makes and pitying March for not having done so himself.

I am a great fan of the score's composer, Bernard Herrmann, whose music is uniquely capable of evoking a range of strong emotions in the listener. The music here is typically Herrmann, although it is not as central a "character" in this film as are his scores in, say, "Vertigo" and "Psycho." It is impossible to imagine the latter two films without the music, while this film seems less obviously dependent on its score.

Although I quite liked this film, it is overly long and could have been better edited. The several subplots needed to be better integrated into the whole. What, for example, was the purpose of the challenge to Peck's inheritance, other than to show the persistent salvific role Cobb played in his life? This subplot could easily have been cut and the film would have suffered nothing in terms of its overall impact. In fact, it might have been better for being more tightly constructed.


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