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Remade in 1987 as "No Way Out," the 1948 film "The Big Clock" is a wonderful suspense film starring Charles Laughton, Ray Milland, George MacCready, and Maureen O'Sullivan, directed by O'Sullivan's husband, John Farrow.

Earl Janoth (Laughton), the owner of a publishing empire, is a quiet, enigmatic tyrant who loves clocks and has them all over his buildings throughout the country, including a big one in the lobby of his New York building. The clocks everywhere run together on naval observatory time.

Janoth's right-hand man, Steve Hagen (MacCready) does his dirty work for him. When Janoth kills his mistress (Rita Johnson), Hagen cleans up the mess. Janoth is sure he saw someone in the hall when he arrived at his girlfriend's apartment, and feeling that the man can identify him, wants him found and eliminated. He orders his executives to get the man, telling them the person they want is involved in a war contract scheme. One man, George Stroud (Ray Milland), who is heading up the investigation, isn't fooled. He knows that he is the man Janoth is looking for -- and why.

"The Big Clock" is a great cat and mouse story, with Stroud ducking people who saw him in various places with the mistress on the night she was killed. He also attempts to leave the building to find a cab driver when someone who can identify him is standing at the exit with security people.

Milland does an excellent job of being both cool and panicky, and Laughton's underplaying makes the character of Janoth all the more deadly. Maureen O'Sullivan is delightful as the long-suffering Mrs. Stroud, who's never had a honeymoon because of her husband's work. Elsa Lanchester is hilarious as an artist whose painting figures into the story.

My only complaint is that the ending is a tiny bit abrupt, though very amusing.

A really wonderful film for suspense-lovers, Hitchcock-like, and highly entertaining.

"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.

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.

Taut thriller about a crime magazine editor (Ray Milland) trying to stay one step ahead of being framed for murder by his tyrannical boss (Charles Laughton). Ray Milland is great but it's scenery-chewing Charles Laughton that is the most memorable part of this movie. George Macready plays Laughton's crony and partner-in-crime. Rita Johnson is fantastic as Laughton's mistress. Elsa Lanchester has a small but amusing part that she makes the most of. Harry Morgan appears in an early role as a "problem solver" for Laughton. This was Maureen O'Sullivan's first movie in five years and her first non-Tarzan movie in seven. Director John Farrow was also her husband at the time so I'm sure that had something to do with her returning to the screen.

A tightly paced film with a great script. Fine direction from Farrow. It was remade in 1987 as No Way Out, which isn't a bad movie itself. Thankfully it isn't a direct copy but a reworking of the original story. Both the remake and this original have wonderful (and completely different) endings. This is definitely one you'll want to check out if you're a fan of film noir or thrillers from the '40s.

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.