La hora de la venganza

This film was released (as I remember) the same year as The African Queen. I have always liked it more than the latter film. Richard Brooks's prior experience working on a newspaper gives it a genuine idea of what that kind of work is like. The performances of Bogart and Barrymore are very good. I think it's one of her very best. This movie deserves to be seen and appreciated more.

Being the editor of a newspaper is intense, when the world outside your window don't make sense, where gangsters rule the roost, the owners easily seduced, an ex-wife who will not give you recompense. So we follow you around and watch you play, it's fair to say, that these are not ordinary days, always going toe to toe, they could be friends, they could be foes, but you ensure everyone, hears what you say. The performances are fine and competent, the emotion and the passion sufficient, not really sure the story's deep, there's not a lot of underneath, but it's 90 minutes that can be well spent.

Better than average newspaper drama from the Fifties. Seems to be a more or less forgotten Humphrey Bogart film, which is too bad. I couldn't find it on DVD anywhere, and watched it on a tape I made from cable ten or more years ago. The film has three intertwining plot arcs done very skillfully by screenwriter (and director) Richard Brooks. Martin Gabel plays the bad guy, a mobster who is suitably menacing, without overdoing it. Icon Ethel Barrymore puts in a fine turn as the newspaper heiress, and the lovely Kim Hunter shines as Bogey's ex-wife. Bogart is outstanding as the crusading newspaper editor, doing everything possible to save his paper, and bringing low the criminal element. Definitely worth seeing, if you can find it.

A very good movie about The Day, a newspaper publishing its last editions, and its aggressive attack on a known mobster.

Humphrey Bogart does an excellent job as the editor, and Ethel Barrymore gives a wonderful, regal performance as the widow of the publisher, whose daughters are now demanding that the paper be sold to a competitor.

The film brings up, a mere 53 years ago, issues that are relevant today - the tabloids versus real, factual news, and the meaning of a free press. These debates continue today, but unfortunately, it seems that the tabloid type of journalism is winning.

As for a free press - our press might be freer than many, but it isn't entirely free. As anyone who lost money in the great savings and loan scandal can tell you, important stories disappear from the front pages all the time.

Bogart's strong performance is the engine that keeps this film going, and there's a nice performance by Kim Hunter as his ex-wife.

Deadline USA reminds us of the good old days, when you could believe what you read in the New York Times.

I don't know if it was intended to copy the fast-paced press room and gangster films that Warner Brothers did in the 1930's, but you certainly get a chance to see what Bogart could have done had he been a star at Warner Brothers during the 30's rather than largely a supporting player. Of course, everything here is taking place in present day - 1952 - but not only does the film reach backwards for its brisk pace, it reaches forward into the 21st century with some of its subject matter. In particular, there is the subject of how big companies buy smaller more effective companies to eliminate the competition, and the subject of inherited wealth and how the companies that formed that wealth are often not appreciated by the spoiled children-heirs.

Here Bogart plays the editor in chief of crusading hard-hitting daily newspaper "The Day", which is about to be sold off by the bored children of the deceased founder. The founder's widow (Ethel Barrymore) unfortunately is outvoted by her ungrateful children, and with the encouragement of Bogart's character tries to come up with enough money to buy her children's shares back from her daughters. In parallel with this is the story of The Day trying to break one last big story before they are bought out - a story that will break the power of a local crime boss who is not taking his possible downfall lying down.

This one is seldom seen and very well done, and I highly recommend that you see it if it ever comes your way.