La luz es para todos

A Gentleman's Agreement is the second motion picture of Elia Kazan that I have seen, the first being On the Waterfront. When I saw the movie starring On the Waterfront about two years, I had not much knowledge about Stanislavsky's method of acting; to me, as an Indian teenager more exposed to Bollywood films, acting meant overdone expressions that indicated emotions of the character at the moment and blaring music in the background to suggest the mood. But after having read his works and being in contact with theater actors, I have realized how tough and delicate 'true' acting is. It can be compared to a tightrope, you tilt more to the side and you fall. Similarly, if you overdo or underperform, you fail – it is about developing yourself externally and internally to portray another person. And so have I begun to appreciate more welcomingly the works of great directors and actors; I am able to sense more keenly whether the actor is 'feeling' or 'acting as if he is feels'.

Elia Kazan, as I read about him in Wikipedia, has been proclaimed as an 'actor's director' for implementing his Method techniques in his film in a way that brings out the truest emotion within his actors. When Marlon Brando hails him as the best experience he has ever had with a director, it means a lot. And Gentleman's Agreement has a lot to say about the director's way of handling his actors and the subject of the film. The film seems rather like a filmed play, blackouts after every scene, unelaborated production and specific focus on actors. And the actors never sob their eyes out or scream their lungs out; their actions seem controlled and natural. There is scant music during the scenes, and therefore we never are made to feel in a particular way; everyone in the audience is entitled to feel his/her own way. And that's what made me astonished, as I was expecting high-voltage drama with the message bombarded upon the viewers. Although there were some unneeded moments, the impact that the film had on me was much more because all the actors collaborated so well without having any 'Movie Star' moment.

The matter is contentious and provocative – in the 40s; a reporter pretends to be a Jew for an article to directly be able to understand their feelings and presence in the white Christian dominated society. He is supported wholeheartedly by his openhearted mother and precocious son while equivocally by his fiancé. His decision leads to many confrontations, though most are not very serious, and a newfound friendship. The film distinguishes the varying attitudes of people – some take the initiative for the better, some for the worse while most sit on the fence. Here, Gregory, as Schuyler Green has been assigned to cover about anti-Semitism, which at that time was widely prevalent. He remains indecisive for a while but with the support of his family goes ahead and hits upon the idea of going undercover as a Jew. Gregory portrays him with immaculate sincerity though his character could have been written in a cleaner and riskier way. By this I mean his character does not experience to a fuller extent the discriminations among Jews because the radius his character chooses is limited to the upper caste society which remains more discreet in conveying its feelings. Also, there was abundant focus on his relationship with Kathy, his fiancée which although was very interesting as it gave focus to her own views on racism, but it neglected his interactions with other people. Yet, to take up this matter in the 40s is very brave.

Some viewers on IMDb denounce Kathy for being shallow, but I have to say that most people even today are like her in some or the other way. We know that something is wrong yet we sit and do nothing. And Dorothy McGuire channels this feeling of 'shame of not doing something' to a tee. And regarding certain viewers' complaint regarding the ending of the film, I say that basic human feelings such as love should not alter because of one incompatibility. I shall give a personal example here: My grandmother is staunchly against a leader's administration and is quite vocal about it but she would always reprimand my grandfather whenever he would provide criticism about the reader in the newspaper. That does not mean my grandpa will divorce my grandma and go soul searching; I was not disappointed by Schuyler's decision in the end.

The supporting cast act like pillars in the film, with not one misstep from the actors. Celeste Holm is simply amazing as the feisty fashion editor who believes in equality. And I felt she really had her feet on the ground, unlike fireball Bette Davis in All about Eve, whose character too has the similar zest but seems to spit ember and heat up all the scenes. Celeste is fun, over-the-top and believable, she also wonderfully acts especially in her final scene. Anne Revere is equally brilliant, and John Garfield and June Havoc give their best in their short roles. Garfield surprisingly didn't receive supporting actor nomination, since he has some climatic scenes and dialogs. And what conviction does the young Dean Stockwell display!

The ensemble is one of the best I have seen, and under Elia's guidance, deliver their best and most genuine. It may get dreary for those expecting swelling music and over-the-top moments but anyone who can notice the director's courage for making this shall be greatly impressed.

My Rating: 9 out of 10

I hate to say it, but before I saw this movie, I did not realize that there was racism against Jews in the post war period. I couldn't understand it: why would Americans promote the very thing they fought against in the war? Then I was informed that they weren't fighting against racism or discrimination, but against the Nazi regime and genocide. There is a large difference between one person's opinion and a government policy. I'm a teenager, and the fact that Jews were still discriminated against was never mentioned to me. Maybe it should be better known. I am doing Modern History next year and we will be studying the Second World War, and I'm very glad I saw this film (despite its inaccuracies).

Anyway – now to the plot. Phillip Green (Gregory Peck) is a writer who pretends to be Jewish to find out about anti-Semitism. Through this, he learns how much people discriminate against Jews and it affects him deeply and changes his life.

I was never bored in this film. I am forever fascinated by Peck, who I've always remembered as Atticus Finch in To Kill a Mockingbird (1962). This is only the second film I've seen with Peck in his younger days (it's quite a pleasure watching him). Celeste Holm also is amazing and I love how she can laugh so easily – very realistic. The only thing I wasn't satisfied with is the romantic choices by Peck's character. I wish he would have chosen the happy blonde Anne instead of the sappy, boring Kathy. Oh, how I was hoping he would choose Anne! Perhaps Dorothy McGuire was miscast; maybe someone else could have brought more energy to her character. John Garfield is fantastic as Green's Jewish friend.

This was ground breaking at the time and I really respect the people who participated in this film for taking a risk. Despite being made almost 60 years ago, I have not only learned from it but enjoyed it. Yes, there are some inaccuracies and plot holes, but I don't particularly care and it doesn't distract me. It's a great film, go see it.

Gregory Peck is slick as a writer for a publisher who is trying to find something to inspire him after his wife dies. He must take care of his young son and has his mother in New York to help him out. Anti-Semitism hits a chord as WWII has just ended with news of the Holocaust just barely starting to sink into the national consciousness. The timing for release of this movie is obvious, but it is carefully thought out as the director tries to convey the sinister and insidious way in which prejudice worms its way into the mainstream of everyday life. A well done film that works! A clever and intelligent portrayal that deserved the attention it received. Not an entertaining movie in the strictest sense, but one where the audience must do the work of thinking their way through it. It is a film worth navigating, however, because the ugly mirror of prejudice is held up to us all who are watching. It makes you feel uncomfortable because most of us are guilty of witnessing prejudice but we end up doing nothing about it.

I recommend this film, but it won't be for everyone and many of us would rather just pass this one by. But we shouldn't even though it holds up this mirror making us feel guilty and uncomfortable. I should point out that the ending relating to the love interest in the story just doesn't work, but then that is not the purpose of the film. Prejudice, anti-Semitism and discrimination are, and these elements are worked out well. A disturbing but intelligent portrayal which is worth taking in for what it is worth.

A thought-provoking and brooding film with good performances , dealing with brooding and thoughtful events . It deals with a magazine writer Phil Green (Gregory Peck) looks for a new angle on his writings when he agrees to research by writing a series of articles on anti semitism for a powerful publisher (Alfred Dekker) . Along the way he personally discovers the true depths of bigotry and hatred . And his new identity pervades his life affecting his relationship to new girlfriend (Dorothy McGuire) and son (Dean Stockwell) resulting in unexpected consequences and troublesome ways .

An interesting and rabid attractive drama in which a reporter pretends to be a Jewish in order to cover a story on anti-Semitism , only to find the masquerade entailing a backlash of grief and pressure for himself and his own family . Archetypical Hollywood social comment and the 20th Century Fox studio's fondness for realism looks remarkable dated in places . However , relying heavily for complicated loving relationships , tension and on a handful of attractive dramatic pieces and offering an important analysis of the problem . This sentimental and muddled film was Hollywood's first major attack on anti-Semitism. A successful movie that received 8 Oscar nominations and three wins, including Kazan's first for Best Director. Gregory Peck gives a terrific acting in an upright role similar to Atticus Finch , he is a journalist who has to deal with both overt and covert prejudice . John Garfield has a small but essential role as Phil's Jewish friend Dave . Starring Gregory Peck and Dorothy McGuire are accompanied by a very good support cast , such as : Celeste Holm , Anne Revere , June Havoc , Albert Dekker , Jane Wyatt , Dean Stockwell and Sam Jaffe.

The film was compellingly made by Elia Kazan who did not get along with actor Gregory Peck ; as usual Kazan dealing with thoughful and provoking issues . In fact , his films were concerned with personal or social issues of special concern to him. Kazan writes, "I don't move unless I have some empathy with the basic theme." And this first such "issue" film was Gentleman's agreement (1947). It was followed by Pinky (1949), one of the first films in mainstream Hollywood to address racial prejudice against black people. A streetcar named Desire (1951), an adaptation of the stage play which he had also directed, received 12 Oscar nominations, winning four, and was Marlon Brando's breakthrough role. In 1954, he directed On the waterfront (1954), a film about union corruption on the New York harbor waterfront. In 1955, he directed John Steinbeck's East of Eden (1955), which introduced James Dean to movie audiences. Rating : 6.5/10 .Notable . Controversial in its day , yet still timely .

In his commentary for the DVD of `Gentlemen's Agreement,' critic Richard Schickel spends some of it criticizing the flaws in the movie (something I wish more commentaries would do). Mostly I disagreed with him, especially about Dorothy McGuire's fine performance. She has by far the toughest role in the picture as Gregory Peck's conflicted fiancée, whose complacent belief that she doesn't have an anti-semitic bone in her body is severely tested when he decides to pretend to be Jewish for a newspaper article. I often think of prejudice as the act of automatically assuming something is fact about someone we don't know, based on stereotypical preconceived notions. Anti-semitism is the reference point for the movie, but what it really does is examine the subject of prejudice from many different angles, from its most virulent to its most subtle forms. It even explores the role played by Jewish self-hatred in exacerbating the problem. The only time the film begins to resemble an `After School Special' is in Ann Revere's preachy speech towards the end. On balance, however, `Agreement' is much more complex than it's been given credit for. (I may be too late, but in answer to the User Commenter who wanted to know the name of the main title theme: it's an Alfred Newman original that is only heard that one time in the film. He developed it more extensively a couple of years later in Kazan's "Pinky.")