Clash by Night | |
---|---|
Directed by | Fritz Lang |
Screenplay by | Alfred Hayes |
Based on | Clash by Night 1941 play by Clifford Odets |
Produced by | Jerry Wald Norman Krasna Harriet Parsons |
Starring | Barbara Stanwyck Paul Douglas Robert Ryan Marilyn Monroe |
Cinematography | Nicholas Musuraca |
Edited by | George Amy |
Music by | Roy Webb |
Production company | Wald/Krasna Productions |
Distributed by | RKO Radio Pictures |
Release date |
|
Running time | 105 minutes |
Country | United States |
Language | English |
Box office | $1.5 million (US rentals) [2] |
Clash by Night is a 1952 American film noir drama directed by Fritz Lang and starring Barbara Stanwyck, Paul Douglas, Robert Ryan, Marilyn Monroe and Keith Andes. The film is based on the 1941 play by Clifford Odets, adapted for the screen by writer Alfred Hayes. It is the first major film to credit Monroe before the title, albeit with fourth billing. [3]
During the shooting, the now-famous nude calendar photos of Monroe surfaced and reporters swarmed around and hounded the actress, creating considerable distraction for the filmmakers. [4]
Mae Doyle returns to her hometown, the fishing town of Monterey, California, after 10 years on the East Coast. Joe, her fisherman brother, is not pleased to see her, but accepts her back into the family home. His girlfriend Peggy is more welcoming. When Joe asks Mae about the rich man she had been seeing, she explains that he was a married politician. He died and left her some money, but his wife and relatives took her to court and won.
Mae begins to date Jerry D'Amato, a good-natured, unsophisticated fisherman with his own boat. Almost immediately, Mae despises Jerry's friend, Earl Pfeiffer, a bitter, dissatisfied film projectionist. Mae's politician lover had made her feel more confident in herself; in stark contrast, Earl has a low opinion of women and makes no attempt to hide it. His wife is a vaudeville performer who is frequently away on tour.
Despite Mae's opinion of Earl, he senses a kindred and restless spirit between the two of them. Jerry is oblivious to the attraction and soon asks Mae to marry him, despite her warning that she is not good for him. Mae accepts, in spite of the fact that she does not love or even respect her future husband; she does so for security and in the hope that she can change.
A year after having a baby girl with Jerry, Mae becomes bored and restless. Earl, now divorced, makes a move on Mae. She resists at first, but then begins an affair with him. Jerry's uncle Vince, who bears a grudge against Mae, knows of the affair and tells his disbelieving nephew. When Jerry confronts the couple, Mae admits that she wants to leave Jerry to be with Earl.
After a few drinks and some prodding by Vince, Jerry finds and starts strangling Earl until Mae arrives and breaks up the fight. Jerry leaves, horrified that he came close to killing his friend. When Mae goes home to take her baby away, she finds the crib empty. Earl tries to coax Mae to leave with him anyway, without the baby, but Mae refuses. After trading bitter recriminations, she breaks up with him. Later, Mae repents and convinces Jerry to take her back.
Clifford Odets' Clash by Night was originally performed in 1941 as a neo-realist Broadway play with Tallulah Bankhead in the Stanwyck role. Fritz Lang changed the locale from Staten Island to a fishing town in California, but kept intact the oppressive seacoast atmosphere. [5]
The drama is structured into two almost equal parts, separated by a year in time, and each is almost a complete drama in its own. Each section begins with a non-fiction documentary look at the fishing industry in Monterey, California before moving on to the story. The film could be considered as two separate films strung together as a serial.[ citation needed ]
The film's title is derived from Matthew Arnold's 1851 poem "Dover Beach", which describes the titular location as a place "where ignorant armies clash by night."[ citation needed ]
Joan Crawford was originally announced as the film's star. [6]
A contemporary Variety review panned the film but appreciated Stanwyck's work, writing, "Clifford Odets' Clash by Night, presented on Broadway over a decade earlier, reaches the screen in a rather aimless drama of lust and passion. Clash captures much of the drabness of the seacoast fishing town, background of the pic, but only occasionally does the narrative's suggested intensity seep through...Barbara Stanwyck plays the returning itinerant with her customary defiance and sullenness. It is one of her better performances. Robert Ryan plays the other man with grim brutality while Marilyn Monroe is reduced to what is tantamount to a bit role." [7]
In another contemporary review, New York Times critic A.H. Weiler wrote that the film "... lacks conviction and distinction despite its hard-working principals. ... Miss Stanwyck is professionally realistic in the role. Paul Douglas is a physically convincing portrait of the simple, muscular and trusting Jerry. But it is difficult to take his extreme idealistic devotion." [8]
Critic Sam Adams wrote about Fritz Lang's directorial style: "Restraint was never Fritz Lang's problem. Indeed, his version of Clifford Odets' Clash by Night is overwrought verging on camp... In Clash's wild kingdom, strong women can only be sated by the threat of male violence: After she marries sturdy lug Paul Douglas, Stanwyck is unerringly drawn towards Ryan's volatile woman-hater, while fish-canner Marilyn Monroe shows her affection to fiance Keith Andes by socking him in the arm, a gesture he threatens to return in spades. Lang tilled the same turf two years later in Human Desire , a similarly heavy-handed expose of man's bestial nature. Perhaps Lang should have stuck with the style of Clash's extraordinary, near-wordless opening, which begins with shots of seagulls and seals and slowly mixes in the actors in their natural habitats." [9]
Critic Dennis Schwartz wrote: "The performances are stagy but filled with fiery emotion. The performers are able to bring out the complexities underlying each of their characters as they battle each other, hoping not to die of loneliness or of cynicism. Everything about these characters and their alienation seemed natural, something that was grounded by Lang's showing them at work, never cutting them off from all the other travails they were going through. Lang's point is how easy it is not to see the faults in yourself, as easy as it is to see them in someone else. Clash by Night brilliantly tells how some lonely folks break out from their shadowy existence, as if that darkness was a prison where survival at any cost is the name of the game." [10]
The review aggregator Rotten Tomatoes reports that 73% of critics gave the film a positive review, based on 15 reviews, marking the film as "Fresh." [11]
Another production of the Odets play was directed by John Frankenheimer for Playhouse 90 on June 13, 1957, with Kim Stanley in the lead role.[ citation needed ]
Marilyn Monroe was an American actress, model, and singer. Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million by the time of her death in 1962. Long after her death, Monroe remains a pop culture icon. In 1999, the American Film Institute ranked her as the sixth-greatest female screen legend from the Golden Age of Hollywood.
The year 1953 in film involved some significant events.
The year 1952 in film involved some significant events.
Clifford Odets was an American playwright, screenwriter, and actor. In the mid-1930s, he was widely seen as the potential successor to Nobel Prize–winning playwright Eugene O'Neill, as O'Neill began to withdraw from Broadway's commercial pressures and increasing critical backlash. From January 1935, Odets's socially relevant dramas were extremely influential, particularly for the remainder of the Great Depression. His works inspired the next several generations of playwrights, including Arthur Miller, Paddy Chayefsky, Neil Simon, and David Mamet. After the production of his play Clash by Night in the 1941–42 season, Odets focused his energies primarily on film projects, remaining in Hollywood for the next seven years. He returned to New York in 1948 for five and a half years, during which time he produced three more Broadway plays, only one of which was a success. His prominence was eventually eclipsed by Miller, Tennessee Williams, and in the early- to mid-1950s, William Inge.
Jerome Irving Wald was an American screenwriter and a producer of films and radio programs.
Robert Bushnell Ryan was an American actor and activist. Known for his portrayals of hardened cops and ruthless villains, Ryan performed for over three decades. He was nominated for the Academy Award for Best Supporting Actor for his role in the film noir drama Crossfire (1947).
The Blue Gardenia is a 1953 American film noir starring Anne Baxter, Richard Conte, and Ann Sothern. Directed by Fritz Lang from a screenplay by Charles Hoffman, it is based on the novella The Gardenia by Vera Caspary.
Ladies of the Chorus is a 1948 American musical romance film directed by Phil Karlson and starring Adele Jergens, Marilyn Monroe and Rand Brooks. The screenplay, written by Harry Sauber and Joseph Carole, was based on a story by Sauber.
Deadline at Dawn is a 1946 American film noir, the only film directed by stage director Harold Clurman. It was written by Clifford Odets and based on a novel of the same name by Cornell Woolrich. The RKO Pictures film release was the only cinematic collaboration between Clurman and his former Group Theatre associate, screenwriter Odets. The director of photography was RKO regular Nicholas Musuraca. The musical score was by German refugee composer Hanns Eisler.
Don't Bother to Knock is a 1952 American psychological thriller starring Richard Widmark and Marilyn Monroe and directed by Roy Ward Baker.
Keith Andes was an American film, radio, musical theater, stage and television actor.
While the City Sleeps is a 1956 American film noir directed by Fritz Lang and starring Dana Andrews, Rhonda Fleming, George Sanders, Howard Duff, Thomas Mitchell, Vincent Price, John Drew Barrymore and Ida Lupino. Written by Casey Robinson, the newspaper drama was based on The Bloody Spur by Charles Einstein, which was inspired by the case of Chicago serial killer William Heirens. Five decades after the film's release, critic Dennis Schwartz wrote, "Fritz Lang ('M') directs his most under-appreciated great film, more a social commentary than a straight crime drama."
Beyond a Reasonable Doubt is a 1956 American film noir legal drama directed by Fritz Lang and written by Douglas Morrow. The film stars Dana Andrews, Joan Fontaine, Sidney Blackmer, and Arthur Franz. It was Lang's second film for producer Bert E. Friedlob, and the last American film he directed.
Jeopardy is a 1953 American crime drama directed by John Sturges. The black-and-white film stars Barbara Stanwyck and Barry Sullivan as a married couple, and Ralph Meeker as an escaped convict. The film was based on the 22-minute radio play "A Question of Time".
As Young as You Feel is a 1951 American comedy film starring Monty Woolley, Thelma Ritter, and David Wayne, with Marilyn Monroe in a small role. It was directed by Harmon Jones.
Clash by Night is a romantic triangle drama by Clifford Odets which premiered on Broadway in 1941 and was later adapted to film and television. The title derives from Matthew Arnold's poem "Dover Beach" (1867):
There's Always Tomorrow is a 1956 American romantic melodrama film directed by Douglas Sirk and starring Barbara Stanwyck, Fred MacMurray and Joan Bennett. The screenplay by Bernard C. Schoenfeld was adapted from the novel of the same name by Ursula Parrott. The plot concerns a man's unhappiness with his domestic life and romantic relationship with a former employee. The film was produced by Ross Hunter for Universal Pictures, which had also produced the 1934 adaptation of Parrott's novel. It was released in the United States on January 8, 1956.
My Week with Marilyn is a 2011 biographical drama film directed by Simon Curtis and written by Adrian Hodges. It stars Michelle Williams, Kenneth Branagh, Eddie Redmayne, Dominic Cooper, Julia Ormond, Emma Watson, and Judi Dench. Based on two books by Colin Clark, it depicts the making of the 1957 film The Prince and the Showgirl, which starred Marilyn Monroe (Williams) and Laurence Olivier (Branagh). The film concerns the week during the shooting of the 1957 film when Monroe was escorted around London by Clark (Redmayne), after her husband Arthur Miller had returned to the United States.
"I Hear a Rhapsody" is a 1941 pop song that became a jazz standard, composed by George Fragos, Jack Baker, and Dick Gasparre. Written in 1940, in 1941 it was a top 10 hit for three separate artists, Charlie Barnet, Jimmy Dorsey and Dinah Shore. “I Hear a Rhapsody” was at the top of "Your Hit Parade" in 1941. It was featured in the 1952 film noir Clash by Night, in which it was sung by Tony Martin. The soundtrack featured jazz notables such as pianist Gerald Wiggins, alto saxophonist Benny Carter, and tenor saxophonist Coleman Hawkins. The film, directed by Fritz Lang, involved a love triangle in a small fishing village and starred Barbara Stanwyck, Robert Ryan, and Paul Douglas.
The live and video album Crossroads Guitar Festival 2019 is the sixth release in the series of Eric Clapton's Crossroads Guitar Festivals to support his rehabilitation centre in Antigua, the Crossroads Centre, documenting the 2019 performances from two concerts held on September 20 and September 21, 2019 at the American Airlines Center in Dallas, Texas. The album was released on November 20, 2020 through Warner and Rhino Records.