Most Helpful Customer Reviews
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16 of 16 people found the following review helpful:
4.0 out of 5 stars
Fritz Lang Brings Documentary Realism to Clifford Odets., August 25, 2005
Director Fritz Lang opens "Clash by Night" with a violent crashing of waves that sets the audience on edge and foreshadows the inner turbulence of the film's protagonist, Mae Doyle. This is followed by an extended documentary sequence that was filmed on location in Monterey, California, illustrating the daily routine in the fishing town. Boats come in with their catch; their crews unload the fish; and the cannery processes them. It's a memorable sequence, and I was surprised to find it in this relationship drama. Mae Doyle (Barbara Stanwyck) has returned to town after a 10-year absence that left her disillusioned with life, love and the plans she had. Her brother Joe (Keith Anders) works on a fishing boat owned by Jerry D'Amato (Paul Douglas), a cheerful, simple-minded man who is smitten with Mae. Joe's good friend Earl Pfeiffer (Robert Ryan) couldn't be more different. He's misogynistic, lecherous, and deeply needy. Mae is attracted and repulsed by the cynicism that she sees in Earl and shares with him. She'd like a man like Jerry to take care of her, but knows she could never be satisfied with that.
"Clash by Night" is based on the play by Clifford Odets, and it's fun to try to pick out the lines that sound like Odets by their affectedness. Usually the actors deliver the lines casually, so they don't sound too histrionic. I found that the film's strength is its documentary-like qualities, which don't end after the introductory sequence. The vignettes of working class life and conversations about family matters lend the film an authenticity that it really needs considering that Barbara Stanwyck' s glamour and forcefulness seem as out of place in that town as her character professes to feel. Robert Ryan was a terrific character actor who could just as easily be sympathetic or loathsome, and he's convincingly obnoxious here. It's not clear if Earl is suffering from feelings of inferiority or superiority, but he's an overbearing, moody, insufferable jerk. "Clash by Night" was the first film in which Marilyn Monroe had billing above the title. She's beautiful and youthful as Joe's feisty girlfriend Peggy, even if she had trouble with her lines, as Fritz Lang claimed. "Clash by Night" is a bit of melodrama, I suppose, in which people's needs and desires clash with life's realities. But strong performances and a realistic environment make it an interesting film.
The DVD (Warner Brothers 2005): There is an occasional flaw, but this is generally a good print. Bonus features are a theatrical trailer (2 ½ minutes) and an audio commentary by Peter Bogdanovich and Fritz Lang. Most of the commentary is Bogdanovich. Occasional brief contributions from Lang were recorded by Peter Bogdanovich in 1965 when he was interviewing Lang for his book "Fritz Lang in America". It's a good commentary in which Bogdanovich provides scene-by-scene comments on the actors, characters, dialogue, filming anecdotes, and, of particular interest to me, analysis of some of the longer shots and cuts. Subtitles for the film are available in English, Spanish, and French.
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12 of 12 people found the following review helpful:
4.0 out of 5 stars
A drama many years ahead of its time!, July 27, 2005
This review is for the 2005 Warner Brothers DVD.
The storyline revolves around Mae Doyle (Barbara Stanwick) who returns to a Northern California fishing community after a ten-year hiatus. She left that town hoping to find a wealthy or prestigious man to marry, but her dreams never materialized. Upon returning she runs into an old acquaintance, Jerry D'Amato (Paul Douglas), at a bar and they later start dating even though they have very little in common. Jerry is hardworking and stable, yet a boring simpleton. Mae is fickle and shallow. Jerry introduces Mae to his best friend Earl (Robert Ryan) who is cantankerous yet very extroverted - pretty much the exact opposite of Jerry. From this point on in the movie, the human dynamics these three people go all over the map and develop into an enthralling plot for the viewer.
I was initially taken off guard with the way the film ended, but I couldn't get it out of my head for the rest of the day and realized it took a very brave direction with the issues it confronted. Furthermore, the movie is probably more representative of today's social landscape than it was when the film was made and has some hard-hitting commentary for the consequences of people's actions. There is however, one scene that is clearly politically incorrect by today's standards where Earl imitates a Chinese person. The movie also contained some refreshing scenes of a young Marilyn Monroe who plays the girlfriend of Mae's brother. Overall I give the film a solid recommendation for viewing.
The DVD is remastered but not restored and as a result, the black and white transfer is sharp but occasionally tiny spots of film deterioration can be observed. The sound is fine. The DVD comes with commentary by Peter Bogdanovich, with audio interview excerpts of director Fritz Lang.
PLEASE NOTE: Before buying this DVD, consider buying the Film Noir Classic Collection, Vol. 2 which contains this movie plus four other highly recommended movies at a very reasonable price.
Movie: B
DVD Quality: B
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12 of 13 people found the following review helpful:
4.0 out of 5 stars
Cannery Noir, February 5, 2003
Although the emphasis here is on emotions rather than mayhem, fans of "Film Noir" will chew on Fritz Lang's "Clash By Night" with relish. What saves this film from becoming another weepy 50's melodrama are the cynical, tough-as-nails characters played by Barbara Stanwyck and Robert Ryan. They are the illicit lovers cuckolding hubby Paul Douglas' naive, easygoing Monterey Bay fisherman. Ryan brings a sweat-streaked, smouldering, "Streetcar Named Desire" intensity to all of his scenes with Stanwyck, who holds her own as a restless, world-weary housewife with a "been there done that" past. Stanwyck and Ryan play out thier furtive romantic scenes like rutting animals (this is pretty hot stuff by early 50's standards). Paul Douglas gives his career-best performance, particularly when he registers heartbreak, betrayal, and internal struggle between gentle demeanor and homicidal rage all in one pivotal scene ("ANIMALS! That's what you are...ANIMALS...!") Marilyn Monroe is excellent in a small but memorable role as Stanwyck's tomboyish sister-in-law. What makes this film unique in the Noir canon is that while there is a fair amount of violence, none of it is fatal in the literal sense. The only fatalities here are the characters' hopes, dreams and faith in humanity-now THAT's what I call Noir!
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