Spiel mit dem Tode

John Farrow, directing a fine cast, including his wife, Maureen O'Sullivan comes up with a winner here. Ray Milland plays the part of an innocent, albeit irresponsible, man who becomes trapped by his own actions and portrays it with style and a sense of desperation that will make you nervous for him. Charles Laughton just reeks of power, greed and evil intent as the boss of a large publishing empire who is also desperate to hide his little secret. George McCready,who was one of the best supporting actors in films, is his sidekick and Harry Morgan is the sinister henchman who hunts for Milland under the big clock. Maureen O'Sullivan doesn't have much of a part in this film but as usual she is believable. And then, up pops Elsa Lanchester as the dotty artist who plays a key role in the mystery.......she is always a great addition to any film and often appeared in her husband's (Laughton) movies. The story moves along quickly and keeps you on edge as the hunted is also the hunter. It's really quite nervewracking as Milland dodges and covers up to keep one step ahead of the truth. Put this film on your list......you won't regret it.

"The Big Clock" takes some chances with unusual characters, and with complicated and sometimes outlandish plot developments, but it holds together well to produce a generally satisfying, and always interesting, suspense film. A fine cast makes us both believe in and identify with the characters, and good direction by John Farrow keeps the film moving, and blends together what otherwise could have been a lot of incongruous plot devices.

Ray Milland is a vital part of the film's success in his role as George Stroud, the editor of a crime magazine who has an amazing talent for tracking down elusive criminals. Already caught in a conflict between his neglected wife and his domineering employer, Stroud finds himself asked to direct a search for an unknown murderer in a case where, because of a chain of circumstantial evidence, all the clues point back to himself. What the audience knows, but Stroud does not, is that the real killer is his boss, played with panache by Charles Laughton, who is obsessed with time and whose proudest creation is a gigantic clock that dominates the publishing house that he runs. The title refers literally to this clock, and perhaps metaphorically refers to the urgency faced by Milland's character as he fights against time trying to extricate himself from his troubles. Milland nicely underplays all of this, and communicates his dilemmas with a lot of credibility.

The supporting cast is an important part of the film, as they must bring life and credibility to a series of oddball plot elements, and they are all quite good. Especially noteworthy is Elsa Lanchester's performance as an eccentric artist whose paintings become one of the clues to the crime. Lanchester is simply wonderful in her scenes, and the movie would be worth watching over again for those alone.

"The Big Clock" is a good example of a "film noir", and will be most enjoyed by those who are fans of the way films of the genre were made in their heyday. But it would also be a good choice for anyone who likes crime/mystery stories and who is willing to look at the way such films were made in an earlier era. After watching "The Big Clock", you might want to see more of them.

'The Big Clock' is exactly my kind of film, love crime, love thriller, love films with noir-ish qualities. The cast is an immensely talented one and the roles they're cast in sounded perfect for them. Hard to go wrong with Ray Milland, Charles Laughton, George Macready, Harry Morgan, Maureen O'Sullivan and Elsa Lanchester and 'The Big Clock' is the sort of film that would see all fitting beautifully within it. The story sounded so engrossing too and of course the positive reviews always help.

A critical reception that 'The Big Clock' more than richly deserves. While not one of my favourite films or one of my favourites of the genre, and it falls short of masterpiece status, 'The Big Clock' is an excellent film in many respects. The acting and the atmosphere being two of the biggest pluses, and it delivers hugely on the entertainment value and suspense as well which means that it more than delivers on what is needed to make a film of this type work.

It is a slow starter, well slightly, and not everything rings true in the plot.

Such as with the body, the lead character's involvement with Rita Johnson's character and how quickly a few of the clues are found.

Everything else is truly fabulous. Milland has the right amount of intensity and charm for a role that suits him so well and plays to his strengths, one of his best performances from this period. O'Sullivan is a strong presence as is Johnson, while Lanchester was seldom this hilarious. Likewise with Morgan being seldom this menacing. Best of all is a chillingly neurotic Laughton. Chills also come from the omnipresence of the clock. The characters are well written and some of them eccentric, notably Lanchester's. There is plenty to Milland's to allow us to care for what happens to him.

Furthermore, 'The Big Clock' looks great. Especially the darkly noir-ish lighting and photography that not only suits the atmosphere perfectly it actually enhances it. John Farrow directs more than efficiency with a strong feel for momentum and atmosphere. The script is taut and intelligent, complete with some deliciously acerbic humour that gels with the vast amount of tension like fruity wine and cheese. The story is laden in suspense, is tightly paced and has clever turns. The ending is unexpected and has a lasting effect.

Overall, excellent. 8/10.

An interesting film noir. Milland is good as a Hitchcockian hero who finds himself framed for a murder. Laughton seems to be sleepwalking through his role as the actual murderer. Johnson, an attractive actress who had her career cut short by an accident and had a short and tragic life, plays the murder victim. Farrow (Mia's dad) is no Hitchcock but he directs efficiently and the cast includes O'Sullivan (Mia's mom) as Milland's nagging wife and Morgan as a menacing henchman. Lanchester (Laughton's real life wife) is hilarious as an eccentric artist. After a slow start, the pace picks up and suspense builds, not letting up until the credits roll.

I thoroughly enjoyed this film. I'm not sure I would categorize it a noir as much as I would a Mystery/suspense film. But whatever you call it, I call it a great way to spend 95 minutes. I can't recall a film that does a better job of building the suspense as this one. I was on the edge of my seat for the entire last half of the film.

The film makes great use of irony to help achieve this - in that the lead character, George Stroud (Ray Milland), is called upon to search for a wanted man - who turns out to be himself. He is mistakenly believed to be the killer of his boss' mistress, when in reality, it is the boss, Earl Janoth (Charles Laughton), who is the guilty party. It is a classic cat and mouse game - except that instead of searching for the "Randolph" character, Stroud is actually trying to find the real killer so as to clear his own name.

Stroud is literally surrounded on all sides by people who could identify him as the man who was with the murdered mistress on the night she was killed. He is running for his life within his own office building trying to avoid being identified. I love how the painting and the artist are used in the story. Elsa Lanchester was a true gem and quite a funny character. It's interesting to note that she was married to Charles Laughton. They certainly make an odd pair - especially in light of the fact of his known homosexuality.

Another married couple from the film was actress Maureen O'Sullivan, who played Stroud's wife, and Director John Farrow. They were married for 27 years (until his death) and had 7 children together, including Mia Farrow. Maureen and Mia appeared together in HANNAH AND HER SISTERS (1986).

Overall, a very good movie with a talented cast.