The Next Voice You Hear...

"You know," writer George Sumner Albee said, "wouldn't it be something if God would come on the radio and give people such a bad scare they'd wake up and behave themselves!" That quote appeared in MGM president Dore Schary's book "Case History of a Movie", which elevated "The Next Voice You Hear…" far above its station. It also places the "germ" of the story in the days of radio, when the magical medium would be natural place for God to speak to "Joe Smith, American". So, during the time it was written and filmed, this story must have seemed far less ludicrous.

The story focuses on the Smith family: James Whitmore (as Joe), Nancy Davis (as Mary), and Gary Gray (as Johnny). The names "Joseph" and "Mary" have Biblical implications, of course; and, in the film, "Mary" is pregnant. These facts, like the "voice of God" itself, never progress past the point of mildly intriguing, however. The Smith family proves to be an underwhelming choice to follow, through God's supposed manifestation. Interestingly, the filmmakers combine all the world's Gods into one; with the implication being that Jews, Muslims, and others hear a similar message.

A couple of supporting performers are nice, but Ms. Davis (later known as Nancy Reagan) is the best thing in the film. Though a surprisingly thin pregnant woman, she still endeavors to look like she's carrying a child; and, Davis gives the most realistic performance. She helps the other performers look believable, too, just by appearing on screen with them. For example, it looks like she covers for young Gray, when he almost knocks over a table. And, after a silly "drunk scene", ending with Mr. Whitmore walking a straight line into EVERY stool on his way out of a bar, Davis' presence dampens the mediocrity.

Davis is genuine in her manner and looks; she obviously worked on the character, with direction from William A. Wellman. Mr. Wellman keeps it interesting, for the most part; and, the film provokes some thought. Finally, many at MGM would agree with the observation that God's voice, if heard, would sound exactly like Lionel Barrymore.

***** The Next Voice You Hear… (6/29/50) William A. Wellman ~ James Whitmore, Nancy Davis, Gary Gray, Lillian Bronson

Next Voice You Hear..., The (1950)

** 1/2 (out of 4)

Interesting film about people across the world and how their lives change after they hear the voice of God on the radio. The film takes a look at the Joe Smith family with James Whitmore, Nancy Davis and Gary Gray. This is a rather offbeat film for director Wellman but he pulls it off pretty well and makes this a rather memorable religious film, although the screenplay isn't juicy enough to pull it off as a masterpiece. The performances are all very good with Whitmore stealing the film as the hard working dad who begins to rethink things after hearing the voice. I think one of the problems with the screenplay is that it centers on this one family a tad bit too much. There are scenes where large groups of people are debating about the voice and these moments are the best of the film and I wish there had been more. The film plays a lot like what we'd eventually see in a 'Twilight Zone' episode because the voice, a mysterious one, never comes out and says it's God but that's up to the viewer to debate just like the people in the film. I called the film a religious one but thankfully it never goes over the top with propaganda or tries to beat the viewer over the head with a message.

Wow how did I ever miss this one? As many old movies as I've seen and still I find ones that surprise me. This is a very interesting film about a voice coming on the radio nightly saying it is the voice of God. Although the voice is heard by everybody, the movie centers on one family in particular, the Smiths. In the midst of the voice drama, Mary Smith (Nancy Davis) is pregnant and there's some concern about whether she will be able to deliver safely. This and some lesser issues the family has adds to the authenticity of these characters.

A story like this could easily slip into Corn City, but thankfully it's well-written. The family are played by good actors who make the characters seem like real people and not some of the more unfortunate cardboard stereotypes that would dominate 1950s portrayals of white suburban families. James Whitmore and Nancy Davis give two of the finest performances of their careers. The actor playing their son, Gary Gray, is excellent as well. The supporting players were solid also.

We never hear the voice of God. It's written in such a way they manage to skillfully avoid that. Very clever, I think. They relay what the voice said through others. It's also a seemingly non-denominational God, so if you're worried about a faith you don't believe in forcing their beliefs on you...relax. Although it could be argued it's a Judeo-Christian God, there's nothing preachy about it. I've read some complaints about the ending. Without giving too much away, I'll try to address this. The complaints seem to be that the movie sets up a premise that deserves a big payoff. I feel like these reviewers missed the point. The payoff, in my opinion, was appropriate and meaningful: that miracles happen everyday and we should learn to appreciate them.

This is a great film with a simple but thoughtful message. A good cast, a veteran director, and intelligent writing. A true underrated gem that everyone should see.

This is a really odd little film starring some of MGM's secondary players, including James Whitmore and Nancy Davis in the leads. I really can't compare it to any other film because it's THAT unusual. After a suitable buildup, God contacts Earth to tell us he'll be making an announcement and we should stand by. Most of the film takes place at this time and it centers on everyone's reactions to the knowledge that something HUGE must be coming. Is it apocalyptic or what--no one knows and so people start to get very nervous. All this stuff is actually the best part of the movie. The problem, though, is that with this buildup, NOTHING can provide a fitting conclusion to make the film all fit together. In other words, the audience's expectations are probably too high, as no matter WHAT MGM did at the end, it would seem a let-down.

All-in-all, a fascinating and unusual film that dares to be different.

What can you say about a movie that opens by insisting that a guy named Joe Smith is an American. Like maybe we're going to think he's French or maybe Chinese. Actually, the best part of this genuine movie oddity are the parts showing how the Smith's are in fact a typical American family.

For example, note the several amusing little episodes that could be expected from a typical day in 1950's suburbia. Dad (Whitmore) mutters the whole time he's getting not one, but two traffic tickets for wrestling with his balky old car. Or young Johnny's (Gray) perfect pantomime of Dad's all-too-predictable motions starting up that balky car. Or Dad's explaining to bemused neighbors why he's doing junior's paper route and getting it wrong. Now these are the kind of homespun little episodes that Hollywood never had much time for. But here they're both telling and skillfully done. Ditto other telling aspects, such as the locker room byplay at the factory where Dad works. Or Mom's (Davis) wrestling with her very expectant condition.

Now, had the film developed a story around these type episodes, we might have had an amusing little programmer to fill a slow Sunday evening. But this is, after all, 1950, and communism is on the apparent march in Korea, while McCarthyism is aiming at lefty screenwriters in Hollywood. So what we get instead of a programmer is something like Pat Robertson meets The Twilight Zone. After all, when we turned on the radio in those days, we expected maybe the voice of Edward R. Murrow, but certainly not—dare it be said—the voice of The Big Guy Himself. It's as though Robertson had finally arranged it. Wisely, of course, we never hear the actual divine voice, rather the messages are repeated to us by the various characters.

So what we get instead of the usual Hollywood product is a scarcely veiled religious parable. But not an ordinary one. Instead, it's a combination of Creation and The Second Coming all rolled into one b&w movie. And in case we don't get the meaning, Creation is conveyed by the portentious countdown going from The First Day to The Seventh Day, while a Second Coming is signaled by the child born in humble surroundings to Joseph and Mary Smith. At the same time, even Satan puts in a surrogate appearance in the form of Mitch, Joe's wartime buddy, who tempts him with drink and loose women when Joe should be home with wife and family.

So what's the point of this darn heavy load where God actually speaks and the Bible's big events are replicated in—of all places—1950's suburbia. Looks to me like Hollywood got caught up in the emerging Cold War, so MGM decided to enlist God and the Bible on our side. After all, the struggle is against the godless commies. And what better way to show them who's boss than having The Big Guy Himself put in an appearance.

Now, that Cold War conjecture makes a lot of sense given the time frame. But consider what God's message boils down to according to the movie. It's something like, "Do your homework and be nice to one another". Okay, sure, but who could be against that. I'll bet even the bad old Soviets, or the Humanists, or other assorted skeptics would agree with such a soft message. So why do we need God or MGM's screenwriters to tell us something so obvious.

Well, consider again Hollywood and the emerging Cold War with the Soviet bloc. Now that congressional hearings have exposed so many com-symps in their midst, the industry needs a more patriotic image. So what better way to demonstrate patriotic loyalty than to cozy up to a dominant Christianity that feels threatened by the spread of atheistic Marxism.

But certainly the message can't be done in a way that offends other religions or potential allies. So if God speaks, it's got to be general enough to offend no one. But, at the same time, the message should also reference Christian belief if only in a covert way. Looks to me like the writers met the first challenge with the platitude to be nice to others, and the second with the directive about homework, which in context really means to go back and read the Bible. Maybe that combination seems awkward and a little sophomoric, especially coming from God, but it does solve the script's most urgent problem.

Of course, much of this is conjecture on my part. Nonetheless, the movie's a really weird mix, which encourages some type of explanation.

The film itself is not as bad as I expected. Most importantly, it doesn't overload with smarm, always a risk for religiously themed movies. Wisely too, the screenplay avoids any specific mention of Cold War politics, relying instead on apparent moral rearmament to meet the Soviet challenge. Then too, Whitmore and Davis, along with Gray, make a very ordinary, unHollywood type family, appropriate for the purpose. Also, I can't help noticing head production honcho Dore Schary produced the film and brought prestige director William Wellman on board to direct. This suggests the production was not viewed as just another low-budget b&w.

Okay, so maybe we didn't get the new age the movie's big events portend. Still, the movie's a really strange one-of-a-kind that should be seen if only for curiosity's sake.