Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows ... See full summary »
In eighteenth century England, "first cousins" Tom Jones and Master Blifil grew up together in privilege in the western countryside, but could not be more different in nature. Tom, the ... See full summary »
A cavalcade of English life from New Year's Eve 1899 until 1933 seen through the eyes of well-to-do Londoners Jane and Robert Marryot. Amongst events touching their family are the Boer War,... See full summary »
Midshipman Roger Byam joins Captain Bligh and Fletcher Christian aboard the HMS Bounty for a voyage to Tahiti. Bligh proves to be a brutal tyrant and, after six pleasant months on Tahiti, ... See full summary »
Philip Green is a highly respected writer who is recruited by a national magazine to write a series of articles on anti-Semitism in America. He's not too keen on the series, mostly because he's not sure how to tackle the subject. Then it dawns on him: if he was to pretend to all and sundry that he was Jewish, he could then experience the degree of racism and prejudice that exists and write his story from that perspective. It takes little time for him to experience bigotry. His anger at the way he is treated also affects his relationship with Kathy Lacy, his publisher's niece and the person who suggested the series in the first place. Written by
Shooting started in late May 1947 and took three months. The film opened in November of that year to overwhelming critical acclaim. See more »
When Phil is taking Tommy to meet his (Phil's) mother at Saks Fifth Avenue, they stop in front of the statue of Atlas outside Rockefeller Center. In the shot of the two of them talking, with Fifth Avenue in the background, Saks is directly behind them, diagonally across the street on the right, with St. Patrick's Cathedral on the left. But when Phil looks at his watch and tells Tommy they'd better leave to meet grandma, the two hurry off back north along Fifth Avenue - in the completely opposite direction of the plainly visible Saks. See more »
Professor Fred Lieberman:
Millions of people nowadays are religious only in the vaguest sense. I've often wondered why the Jews among them still go on calling themselves Jews. Do you know, Mr. Green?
No, but I'd like to.
Professor Fred Lieberman:
Because the world still makes it an advantage not to be one. Thus it becomes a matter of pride to go on calling ourselves Jews.
See more »
I love this film, though it has faults. It isn't very lively or humorous, and some parts are just plain baffling. Peck is supposed to be the moral spokesman, but so many of the other actors--John Garfield, Dorthy McGuire, Dean Stockwell, Celeste Holm, Sam Jaffe--suggest less priggishness/puritanism and more humanity/warmth than he does. How can we think him morally superior when he comes across like a sulking browbeater? I wish a Spencer Tracy or even a James Stewart had played his role. Sometimes, I feel like saying, "Lighten up, Greg! Say, did you ever here the one about the Rabbi and the three bellydancers? You'll love it."
Nor is it just the casting. Many of Anne Revere's lines make me wince with their naivety, and I think she has the most embarrassing role in the movie. However, I really hate the scene when Peck berates his secretary, June Havoc, basically telling her that the only thing that differentiates a Jew from a Christian is just a word--as if cultural and ethnic differences didn't exist or matter.
I could go on, because I think I know this film's faults as well as any of its critics. However, the movie's virtues obviously outweigh its shortcomings and dated moments. In fact, after over sixty years, not one other Hollywood film confronts bigotry as intelligently as this one. That's right; not one. Why? Because every other one deals only with bigotry in the extreme--and the result is they don't really attack bigotry, they attack violence. Many bigots who keep their kids out of culturally diverse schools can watch MISSISSIPPI BURNING, IN THE HEAT OF THE NIGHT, CROSSFIRE, etc., and can self-congratulatingly say to themselves, "Well, that's not me; I know I'm not a racist." Of course, violent prejudice is the worst form there is, but, in case you didn't know, it is not violent prejudice that minorities confront on a daily basis. It is the unspoken, insensitive attitudes that GENTLEMAN'S AGREEMENT is brave enough (and unique enough) to attack. Despite its dated moments, it's no wonder this movie raises nervous hairs to this day. It makes one actually wonder: is it wrong to tell a politically incorrect joke? Those who think the answer is simple, please think again.
Some have commented that they don't understand what the title refers to and it is significant. A gentleman's agreement is one made without writing or even speech--an agreement that's understood or assumed to be understood. In regards to the film, the term refers to those innumerable bigots who so unthinkingly assume that their prejudices are agreed upon. Speaking as a member of the U.S.'s privileged minority (a white, anglo-saxon, Protestant heterosexual male), I can attest that all of the sexist, racist comments I have had to hear have always been spoken by someone who silently assumed that I would agree with him, making it a gentleman's agreement. The movie, of course, says it's time to break the agreement. A lot of people didn't like such a message when the film came out, and a lot of them don't like it now.
60 of 80 people found this review helpful.
Was this review helpful to you?