Tag: John Garfield

“Gentleman’s Agreement” (1947) starring Gregory Peck, Dorothy McGuire, & John Garfield

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Philip Schuyler Green (Gregory Peck) is a writer/novelist from California recently hired by a national magazine (Smith’s Weekly) in NYC for a series of articles. Phil is a widower w/ a young son- Tommy (Dean Stockwell- best known for Quantum Leap and Battlestar Galactica) – and a mother (Anne Revere) who is facing health challenges. He’s NOT too keen on the topic his editor John Minify (Albert Dekker) chooses- antisemitism. He wishes he could talk w/ his best pal, Dave Goldman (John Garfield), but Dave (who is Jewish) is serving overseas w/ the Army Corps on Engineers. For a week, Phil isn’t sure how to tackle it, then it comes to him- he’ll pretend to be Jewish! Of course, it takes little time for him to start experiencing bigotry. Phil’s anger at the way he’s treated starts affecting all aspects of his life, including his growing romance w/ his editor’s niece, Kathy Lacey (Dorothy McGuire).

Tommy: What’s antisemitism?

Phil: Well, uh, that’s when some people don’t like other people just because they’re Jews.

Tommy: Why not? Are Jews bad?

Phil: Well, some are and some aren’t, just like with everyone else.

Tommy: What are Jews, anyway?

Phil: Well, uh, it’s like this. Remember last week when you asked me about that big church, and I told you there are all different kinds of churches? Well, the people who go to that particular church are called Catholics, and there are people who go to different churches and they’re called Protestants, and there are people who go to different churches and they’re called Jews, only they call their churches temples or synagogues.

Tommy: Why don’t some people like them?

Phil: Well, I can’t really explain it, Tommy.

I re-watched this Oscar-winning movie (directed by Elia Kazan) last week; I saw it a few times over the years. Though there are things to admire, there are scenes which will look quite dated (and insensitive) to modern viewers. After he decides on his angle, Phil looks into the mirror and assesses his own features (“dark hair, dark eyes”) as being consistent w/ the Jews. This reveals that he has been influenced by the stereotype of there being a “Jewish look.” You may find Phil’s talks w/ his (Jewish) secretary, Elaine Wales (June Havoc), to be cringe-worthy (as the young people say). Of course, June herself says some self-hating/prejudiced stuff re: her people.

Phil: I’m going to let everybody know I’m Jewish.

Kathy: Jewish? But you’re not! Are you? Not that it would make any difference to me. But you said, “Let everybody know,” as if you hadn’t before and would now. So I just wondered. Not that it would make any difference to me. Phil, you’re annoyed.

Phil: No, I’m just thinking.

Kathy: Well, don’t look serious about it. Surely you must know where I stand.

Phil: Oh, I do.

Kathy: You just caught me off-guard.

I thought it was refreshing that the main love interest was smart (teacher), posh, and divorced; this is rare for a woman in a ’40s movie! (BTW, both Peck and McGuire were only in their early 30s.) However, Kathy is a part of her time and (high) society, so she doesn’t always know what to say (much less do) when her man is faced w/ prejudice. Admit it, we all know some “nice” WASP lady like this! There’s a lot of emphasis (too much for many viewers) on the romance between Phil and Kathy; it also happens very fast. I thought that the actors had good chemistry, though I preferred Anne Dettrey (Celeste Holm) over Kathy. Anne also works at the mag, enjoys single life, and has a bubbly personality; we can tell she greatly respects and likes Phil.

I enjoyed all the family stuff; Phil has a great relationship w/ his mom (who was only 12 yrs older- wow) and son, who both get some good character development. Stockwell is not just adorable (w/ his dark curls), but also a natural kid actor (rare in that time)! The first act will seem slow to many viewers; Phil suffers from writer’s block (which doesn’t equal great drama). It takes some time for Garfield (who was Jewish) to show up; he took a supporting role b/c he felt this was an important story to tell (but was paid his star’s salary). I loved how he played Dave; it was a subtle performance which holds up well even today! This was also the year when a (smaller) movie also tackled antisemitism- Crossfire.

[1] Green is adamantly and unwaveringly sure of himself and woe betide any who do not share his abhorrence at any manifestation of discrimination, starting with Kathy.

The romance between Green and Kathy is as back-and-forth as any Hollywood potboiler, the difference being that their arguments and falling-outs revolve entirely over Kathy’s inability to grasp the absolute righteousness of her fiance’s crusade. The dispute is artificial and wearying to some degree and I rooted for Celeste Holm’s lovely, witty and totally tolerant Anne, a fashion editor with attitude, as the top gal in the film.

[2] Peck’s crusading writer who masquerades as a Jew is simply too zealous and unswerving for his own good. He has no faults, no inner conflicts and no doubts about himself. […]

She symbolizes the hypocrisy and passiveness of the everyday American on anti-Semitism, and he points it out to her every chance he gets-and that’s all.

[3] As John Garfield’s character in the movie showed: discrimination and racial intolerance can be eliminated if we fight it. Garfield’s willingness to take a supporting role in this movie because of the power of its message should compel the skeptics to watch this movie.

-Excerpts from IMDB reviews

“Humoresque” (1946) starring John Garfield & Joan Crawford

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Sid [to Paul]: You’ll do all right. You have all the characteristics of a successful virtuoso. You’re self-indulgent, self-dedicated, and a hero of all your dreams.

Paul Boray (John Garfield) comes from a working-class background; he and his family live above their humble grocery store in NYC. Paul has been playing the violin since he was 11 y.o. (which his mother supports). Paul’s father has a hint of an European accent; he’s skeptical re: his son’s musical potential. A section of the story is told in flashback; a very young Robert Blake plays Paul. While his older siblings work their retail jobs, as a young adult, Paul lives for his music and wants to become a concert violinist. One of Paul’s classmates at the National Institute of Music, Gina (Joan Chandler- her first role), has strong feelings for him; they have a connection and live in the same neighborhood. Like many young people, Paul is idealistic and feels that talent itself will take him to where he wants to go. Paul has potential, but he doesn’t have the right connections, his best friend/pianist Sid Jeffers (Oscar Levant) explains.

Helen: Bad manners, Mr. Boray, the infallible sign of talent.

At a high society party w/ Sid, Paul meets Helen (Joan Crawford) and Victor (Paul Cavanagh) Wright, the wealthy/influential hosts. Victor (who is older) is perceptive, but also weak man; Helen is strong-minded, yet insecure (and relies on alcohol). Helen becomes Paul’s patroness; she finds him a manager, helps him choose a new suit, and sets up his first public recital. Eventually, Paul embarks on a concert tour and becomes a big success. Paul and Helen also fall in love, but it is a destructive type of love that may risk Paul’s career… and maybe more!

Sid: Tell me, Mrs. Wright, does your husband interfere with your marriage?

“Humoresque” is a must-see for classic film fans, esp. those who like classical music. You hear pieces by Dvorak, Chopin (Etude in G-flat major), Wagner (Tristan and Idolde), Bizet (Carmen), etc. Garfield’s violin “performances” were actually played by two pro violinists standing on either side of him, one moving the bow and one doing the fingering. The music was performed by Isaac Stern; in closeups of the hands alone playing the violin, those are his hands. Levant did all his own piano playing. The screenplay (written by Clifford Odets and Zachary Gold) has great dialogue (w/ memorable lines); the movie is based on a short story by Fanny Hurst.

Helen: I spend my life doing penance for things I never should have done in the first place.

Garfield (then 33), a Method actor, tried to get an emotional bond w/ the character Crawford (42 y.o.) played by looking deeply in her eyes. This unnerved Crawford, who told director Joe Negulesco: “Tell him to stop looking at me!” LOL, but they have some great onscreen chemistry! Garfield had just come off filming The Postman Always Rings Twice (his most well-known role). While working on this movie, Crawford won the Best Actress Oscar for Mildred Pierce. There is some gorgeous B&W photography here, as well as some creatively framed shots. After sparring w/ Paul for the first time, Helen goes to the bar in the next room to make herself a drink; then we see Paul framed as if he’s inside her brandy glass. Looking back, we realize that Paul also became her addiction. Check this film out- you won’t regret it!

[1] As Helen, Joan Crawford gives her greatest performance and she should have been nominated for Best Actress that year. John Garfield is also at top of his form and he certainly is a good match for Miss Crawford. 

[2] A from rags to riches tale with an extra something. The extra something here is Clifford Odetts, the language is as pungent as its pace. The truth in John Garfield’s face rises everything several notches but, perhaps, the biggest surprise… is Joan Crawford’s performance. …she’s rounded and brilliant, torn between who she is and who she would like to be.

[3] ]This film is an outstanding example of the “noir” qualities which were a hallmark of the 30’s to the early 50’s – from the earlier stages of talking pictures, through the depression and post-WW II years. Joan Crawford was one of the two best (along with Bette Davis) at portraying this type of cold, possessive, and thoroughly selfish, powerful female presence.

-Excerpts from IMDB reviews

“The Breaking Point” (1950) starring John Garfield, Patricia Neal, & Phyllis Thaxter

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[1] Peppered with sparkling dialogue throughout, everything in the film is splendidly executed. The movie just rattles along at a well defined pace.

[2] ...this contains one of John Garfield’s best performances. Always a fine actor, he gets under the skin of his character and makes you understand his desperation and moral conflict, he’s riveting every second he is on screen.

[3] The relationship between Juano Hernandez’ Wesley and Garfield’s Harry is about as race neutral as it could be. … they are partners – and they seem truly friends beyond their business relationship.

-Excerpts from IMDB reviews

Tagline: There’s nothing more deadly than a gentle man pushed too far!

This film is smart, touching, entertaining, well-acted, and well-shot. The Breaking Point comes from a novel by Ernest Hemingway (To Have and Have Not). This was identified by critic Thom Andersen as an example of film gris, a suggested sub-category of film noir w/ a left-wing narrative. Michael Curtiz, who also directed Casablanca, shows he had a tough side. The screenplay by Ranald MacDougall is considered (in certain scenes) to be even better than the novel! TCM’s Eddie Muller noted that star John Garfield thought this was his best performance and the film of which he was most proud. He provided many ideas to the producers and director, unofficially taking on an executive producer role. This was Garfield’s second to last role before being blacklisted.

Harry: A man alone ain’t got a chance.

Garfield was the type of leading man who resembled a working man- rugged, blue collar, and wearing a leather jacket. This kind of leading man would rise to prominence after WWII w/ actors such as: James Dean, Marlon Brando, Paul Newman, and Steve McQueen. In Balboa, CA, Capt. Harry Morgan (Garfield) doesn’t quite fit in during peacetime. He earned a Purple Heart for his service in WWII, but now struggles to make payments on his boat and provide for his family (wife and two daughters). The domestic scenes between Harry and wife- Lucy (Phyllis Thaxter)- are touching and realistic. Though devoted to her stubborn husband, she’s determined and strong-willed. Harry’s mate, Wesley Park (Juano Hernandez- a pioneer among Black actors), is loyal, wise and patient; they worked together on the boat for 12 yrs. Unlike some other characters of the period, “he is not an example of noble Black suffering” (as Muller commented). Wesley has a shy/young son who walks to school w/ Harry’s daughters.

Harry: [to Leona as she reaches into his shirt pocket for a cigarette] Yuh know, one of these days you’re gonna get your arm broke reachin’ for something that don’t belong to yuh.

Leona: It’s all in a good cause.

The femme fatale in the story is Leona Charles (Patricia Neal); she meets Harry on one of his trips down to Mexico w/ her older male friend, Hannagan (Ralph Dumke). Leona is a platinum blonde, wears nice clothes, and leads w/ her feminine charms. Harry tries to ignore her (but in a nice manner); she keeps trying to get him interested. After the two-week fishing trip, Hannagan suddenly flies off before paying Harry, and stranding Leona! A shady lawyer, F.R. Duncan (Wallace Ford), offers to help Harry make up for the loss and maybe earn a lot more. Harry has never done anything illegal, but now is faced w/ a desperate situation.