Reviews

The film's themes of ethical integrity, personal responsibility and devotion to duty remain as relevant today as they did a half century ago when the film was released and the novel it is based on was published. Unfortunately, because of cinematic limitations, the film can only give a somewhat superficial treatment of these themes, along with many others that are in Gerald Green's novel but are omitted from the film altogether.

The most glaring examples are the background material on the doctor's life gathered by Thrasher as part of the research for the show. This series of vignettes include his immigration to America, his life as a youth and young man, his studies in medical school, early days in private practice, his betrayal by a trusted colleague, his struggles with depression and attempted suicide, and his deteriorating practice coupled with neighbors who are totally devoid of ethics and scruples. They give a much more complete picture of why the doctor stubbornly clings to his high personal morals at the expense of material betterment, plus Thrasher's ultimate own embracing of these values.

The novel also expands on the power of the new medium of television and the immense power of the spoken word that can be used for good or evil. The little subplots of corporate politicking and backstabbing still have a ring of truth to them some 50 years later.

Finally, the novel offers good social commentary on the changing morals of postwar American society and the emergence of problems that still have eluded solution to this day. Examples include the troubled marriage of Woody and Anne (the pressures to succeed and changing morals of their contemporary sophisticated urban world drive both of them into extramarital affairs, including one between Thrasher and Alice Taggert) plus the expanding juvenile delinquency, drug addiction and social squalor that had started to transform many urban neighborhoods, including the doctor's Brooklyn neighborhood.

Overall, I would heartily encourage those who liked the film to give the novel a look. It will greatly enhance the experience brought by the film and provide a read that although dated, still has a fresh message for today.

Great roller coaster ride of a movie with a few minor flaws. First, I can't imagine a more inept criminal justice system than in Glen Cove: (a) cops crashing their car into a fleeing drunk driver (b) detectives that easily could have exposed the phony Mrs. Townsend (hard to believe they did not already know that the real one was deceased) with a few basic checks, such as the supposed arrival of Thornhill by taxi, his companions at the Oak Bar, the time and circumstances of the theft of the Mercedes, the party guest list, etc. (c) a lawyer letting his client without objection to go to trial on felony charges only one day after the preliminary hearing, and (d) a judge permitting such a quick trial, then letting Thornhill out on bail if his story was supposedly so phony. Second, the scene involving the "United States Intelligence Agency" (staying so secret by being conveniently plopped right in the middle of the National Mall with the Capitol background shot) could have been deleted, leaving the mystery of Kaplan's identity for later resolution; the plot would have been enhanced that much more. Third, the scene in the Chicago train station with the cops checking all the red caps was a bit of a stretch; my recollection of 1950's America was that most of them were of a different ethnicity than that shown in the film.

But in spite of these and the many other minor flaws and goofs that have been well documented, this is still a great film with superb acting, direction, photography, overall plot and suspense that has aged well, like fine wine. I especially liked the little non-verbal nuances, such as: (a) the expression exchange between Thornhill and the other man shaving in the train station, (b) the looks of skepticism by the New York state cop to Eve Kendall, (c) the flabbergasted look by the Chicago cop when Thornhill is suddenly whisked away by the professor at the airport, and (d) Thornhill looking at the farmer (thinking he is Kaplan) across the road, waiting for him to make the first move. The little snippets of humor in the middle of normally suspenseful or dramatic scenes further added to the enjoyment of viewing the film. How many other cops would admonish a murder suspect with "you ought to be ashamed of yourself?" Well worth the rental and viewing time for a good entertainment escape.