-30-

Webb stars as Gatlin, the night editor of an LA newspaper. Wm. Conrad is Jim Bathgate, the city editor. There are many familiar 50's-60's TV faces in this film. It's easy to overlook the over-acting. There are plenty of plot twists to keep you thinking. No chances to stop and think about what just happened too long. Webb also directed this film for his Mark VII production company. The direction is tight. I have always liked the camera movements in this film. Very fluid. Some of the side stories interweaving thru this film are almost too much to take. Louise Lorimer plays "Lady," a senior employee, and copyist whos grandson dies during a speed record attempt by the air force. Alot of time is spent on the scene where she and Gatlin talk each other down. It's a sad scene, with a sudden jump to another part of the newsroom. During the course of the evening, a little girl goes into a storm drain after her dog, the rains come, and suddenly this is the main story for the morning paper. We are shown how the pages are composed in an interesting way, and are given a very basic overview of how things were done in 1959.

We even get a look at Miss Arkansas, 1959, Donna Sue Needham, as a sexpot that the camera ogles for a minute or so...

If you've never seen this film, give it a chance. It's tight, and entertaining. Even sad in places.

Overlook the theme music.

Compared to his roles in Dragnet or the DI, Jack Webb was positively eloquent playing night editor Sam Gatlan in -30-. For those of you who don't know, the title is the symbol put at the bottom of every newspaper article or news release signifying the end.

-30- tells the story of half a day in the office of a working newspaper in Los Angeles of the Fifties. The film is centered around the characters of Webb and Bill Conrad who are in charge as they decide the content and format of a daily edition.

-30- doesn't break any new ground, but has a nice documentary look to it which is what you would expect from the Jack Webb who gave us the daily grind in police work in Dragnet and with paramedics in Emergency. A bit more of a personal life is seen here with Webb and his wife Whitney Blake as they are going through a personal crisis of their own, whether to adopt young Ronnie Dapo or not.

Some familiar character players populate the newsroom here like Howard McNear, Joe Flynn, Richard Deacon, David Nelson who fill out their assigned roles very well. The primary news is about the rescue of a little girl trapped in a sewer drain. The film never leaves the set of the press room much like Dead End or Rear Window and like those films, the set almost becomes a character. But the most unforgettable characters are rich beauty queen Nancy Valentine who wants a journalism career and wants people to take her seriously and Louise Lormer as a veteran reporter who sustains a personal tragedy, but whose commitment to her job carries her through.

-30- like some of the journalism dramas of previous years is almost quaint now with most people getting their news from the internet or from radio and television. Still the papers are out there, struggling as they are for their audience. The people who work on newspapers are nicely tributed by Jack Webb and this film.

This film is entertaining but marred by a too archly clever script, lines that are delivered, (particularly by William Conrad), as if the speaker were narrating a documentary and scenes that are played at 45RPM instead of 33. The effect is to make the film play like an opera without the music, complete with a mixture of low comedy and high tragedy. An attempt to break the news about a loved one's death becomes an extended discourse on God and the Universe. (I have always found that people in a certain situation are not very interested in the philosophies of people who are not.) Someone makes a wisecrack about the newspaper business and Conrad launches into a sort of aria about the purpose of the news business. He also sings lines like "BBBooooyyy!" when he calls for a copy boy. We have a kid trapped in sewers, another hoping to be adopted by the hero, another dying in a plane crash, etc. etc. I also agree that the thought of David Nelson having been a sergeant in the Korean War when the actor was born in 1936 is absurd.

Still, no one can deny that the film is entertaining for all it's faults. It moves and has real dramatic punch. Jack Webb's performance is his best in the movies since "The Men", (1950), although he still lacks the presence and charisma of the movie star he surely wanted to be. This was almost his last attempt at it after "Dragnet (1954), Pete Kelly's Blues, (1955) and The D.I. (1957). He had one more attempt, "The Last Time I saw Archie" (1961), a service comedy with Robert Mitchum, (now there's a Movie Star!) which, like -30-, was a box office flop and ended Webb's ambitions in this regard. He them became a Warner Brother's executive and then returned to the medium where he really excelled, television.

Jack Webb delivers as a newspaper editor on a cliffhanger of a front page story. A little girl, a storm drain, and a heavy rainstorm set the pace. Subplots include a young woman trying to break into the newspaper reporter business (in 1959 - this predated women's lib and did it very well) and a fear of being a parent again after losing a child. Acting chemistry is very successful. An excellent movie. Have VHS, want DVD.

This film is a night in a newsroom at a big city newspaper. It stars Jack Webb as the boss, William Conrad and a whole host of other folks. There are a could of surprises--with Howard McNear (Floyd from "The Andy Griffith Show") and David Nelson ("Ozzie and Harriett") in small parts. All of them work very well together and "-30-" is a surprisingly good film. While it's not nearly as cynical and hard-hitting as "Five Star Final" (also remade as "Two Against the World"), it is a dandy little film--and one that might surprise you. Surprising because it was produced and directed by Jack Webb--and has Webb in the lead actually plays a surprisingly vulnerable guy. This is not the tough as nails guy he played in "The D.I." or Joe Friday from "Dragnet" (though Friday could, on rare occasions, show a bit of heart). This guy is cynical but also a guy who is hurting--and Webb was able to do a surprisingly good performance in this complex role. Now the film at first does not appear to have a lot of depth--just a lot of hard-boiled stereotypical newspaper folks. But, as the film progresses, various tragedies occur--bringing some humanity to these folks who seemed cold as ice.

Overall, a very compelling film--particularly the last half hour. Very well written, a bit schmaltzy (in a good way) and never the least bit dull, this is a heck of a good film that is all but forgotten today. And, the same can be made for Webb's other films. If he hadn't been so successful on TV, you wonder what other film projects he might have made.