La grande horloge

When reviewing films like The Big Clock the usual temptation for reviewers is to say it's all right, but Alfred Hitchcock could have done it better. I'm prone to that comment myself.

But I can't see how Hitchcock could have done it better in this case. The plot is complicated, but not so that you get bogged down. It defies encapsulation, but briefly Charles Laughton, a Rupert Murdoch like publisher back in the day kills his mistress Rita Johnson. Earlier that day Johnson had picked up Ray Milland who is the editor of one of Laughton's publications Crimeways magazine and had a night on the town with him.

Laughton sees someone leaving Johnson's apartment, it's Milland, but Laughton only glimpses and can't identify him before killing Johnson. With the help of his right hand man George MacReady, Laughton tries to find the stranger to pin the murder on him and enlists Milland to do it. Milland realizes what the game is and it's quite a duel of wits between two very intelligent people.

Milland, though directed by John Farrow here, is a typical Hitchcock hero trapped by circumstances and desperately looking for a solution. It's possible that Hitchcock saw this film and had Milland in mind for one his films and he did eventually use him in Dial M for Murder.

Laughton covers some familiar ground here. He's a powerful man with a fetish for punctuality. The title of the film refers to The Big Clock in the lobby of his skyscraper in New York. It runs on naval observatory time and is also running in tandem with all the clocks in all the buildings that Janoth publications has in the country. In fact it's Johnson's lateness that sets him off in their confrontation. And Milland throws him off his game by stopping The Big Clock in the lobby.

The closest role that Laughton played to Earl Janoth here has to be Inspector Javert in Les Miserables. Both are complete anal retentives, with Javert it's the law, with Janoth its time. Javert has no personal life, Janoth apparently can't handle one. And with both only an actor of great talent and skill like Charles Laughton can make you be repelled by his actions and still feel some sympathy for him.

The Big Clock holds up very well today and I wish it would be remade and could be. It was with Kevin Costner and Gene Hackman in No Way Out with the setting now the Pentagon. I'd like to see it updated and keep it in a civilian setting. Though I doubt it would be as good as the Laughton/Milland version.

Most filmgoers are probably more familiar with this film's 1987 updating, "No Way Out", starring Kevin Costner and Gene Hackman. That said, "The Big Clock", as with most originals which later spawn remakes of one form or another, is the better film to my mind. It features Ray Milland as a workaholic crime magazine editor for a ruthless publisher (Charles Laughton). Milland has developed his own special method of catching criminals, consisting of glomming onto details that the police disregard as irrelevant. How little does he suspect that, within 24 hours, that same method is going to be used against him...

He stays the night at his boss' mistress to sleep off a hangover. When Laughton strolls in for a suprise visit, Milland manages to get away before being IDed, but not before Laughton sees his shadowy figure on the stairs. In a jealous rage, Laughton kills his mistress and later sets about framing the figure he saw...who, unknown to him, is actually the man he's putting in charge of the investigation, Milland! What follows from this setup is one of the most elaborate cat-and-mouse games I have ever seen on celluloid, the key difference here being that the cat has no idea who the mouse is.

The leads are what make this film stand out. Milland was always very good at playing "the man caught in the middle" and this time is no exception. Kirk Douglas once noted in his autobiography, "The Ragman's Son", that whenever Laughton speaks his lines, it's as though the words just suddenly occurred to him rather than reciting something from memory. It's definitely put to good use here; Laughton oozes menace and coldness with no discernable effort. Other notables in the cast include Elsa Lancaster ("Bride of Frankenstein" and Laughton's real-life wife) as an eccentric artist who helps Milland and a then-unknown Harry Morgan as a silent, suspicious bodyguard to Laughton's publisher.

While perhaps not extraordinary in and of itself, "The Big Clock" is still a good film worth watching, buying, and owning.

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, starring Ray Milland and Charles Laughton, is a great black and white thriller in every way. Unlike many noirs of it's time, it's not a B movie. The lighting, sets, talent and camera-work are top notch. The acting is perfect, as would be expected with a cast like this. Milland is charming and easy to route for. In fact, I usually find him kind of stiff - a little to up tight and proper. Here he seems to be a real guy with real problems. Milland was most famously known for playing an alcoholic three years earlier. In a kind of nod to that "lost weekend" there's a fun scene of him going on a bender in Manhattan - with unforeseen results. Like all noirs, a small wrong decision becomes a bigger and bigger problem latter on. When Milland decides to hang out with a hot blonde instead of going home to his wife, you just know he's gonna get into big trouble. And boy does he. The big trouble is Laughton.

I've always enjoyed Charles "Capt. Bligh" Laughton. He was such a good actor. In The Big Clock he manages to be fascinating and loathsome playing the media empire kingpin. His character has no morals, and it's fun to watch him work. He clearly enjoyed himself making this film.

Oh, and isn't Elsa Lanchester great as the crazy artist? Everyone know's Lanchester. She wore the most famous hairdos in movie history.

Remade as No Way Out with Costner and Hackman in the leads.

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.