In "The Big Clock," Ray Milland takes on the role of George Stroud, an editor and investigator for a crime magazine. Stroud's boss, mega-publisher Earl Janoth (played by Charles Laughton), steals the show with his charismatic portrayal of an arrogant mover and shaker in the publishing world. Janoth's obsession with time is symbolized by the giant clock that adorns the company's headquarters, controlling all other clocks in the building. While the film takes a bit of time to find its footing in the first thirty minutes, it gradually picks up pace.
The early exposition scenes introduce us to Stroud, Janoth's top employee, known for his skills in solving crimes with the help of his dedicated staff. The use of a bulletin board to organize various clues adds a unique element to their investigations. We also learn that Stroud's desire for a long-overdue honeymoon with his wife pushes him to the brink of quitting his job.
The story takes an intriguing turn when Stroud resigns but misses his train to meet his wife. Instead, he finds himself in the company of Janoth's mistress, Pauline York. Their encounter leads to a series of events that culminate in Janoth accidentally killing Pauline with a sundial purchased by Stroud. In a bid to cover up the crime, Janoth manipulates his staff into investigating a fictional character named Jefferson Randolph, whom Pauline had concocted as her alibi.
Stroud is coerced into returning to work by Janoth, fearing his implication in the murder due to the inscription on the base of the sundial. The plot thickens as Stroud must navigate the investigation to prevent his staff from suspecting his involvement. Along the way, he uncovers crucial information from a cabdriver and an antique dealer, all while evading identification by an artist who could potentially expose him.
The climax of the story unfolds in Hagen's office, involving Stroud, his wife, and a friend from the bar where he acquired the murder weapon. Accusations are made, alibis are questioned, and the tension reaches its peak as the truth is unveiled. Janoth's desperate attempts to escape lead to a fatal encounter in an elevator shaft.
While "The Big Clock" has elements of film noir, some argue that it doesn't fit the genre's conventions entirely. Although Pauline York possesses traits of a femme fatale with her history of affairs, it is George Stroud's actions and decisions that primarily drive the story, rather than falling prey to her seductive influence. Moreover, the film diverges from the typical noir outcome, as the protagonist ultimately prospers rather than meeting a tragic fate.
The prominent image of the big clock, symbolizing Janoth's megalomania, has sparked discussions. However, it is worth noting that its direct impact on the plot is limited. In contrast, films like "The Stranger" utilize clocks in more integral ways, such as with the striking of an appointed hour leading to a decisive turn of events.
After a somewhat slow start, "The Big Clock" successfully holds viewers' interest with its escalating tension. It is worth mentioning that the plot hinges on the police not discovering the victim's body, which may raise questions regarding the plausibility of friends not reporting her absence over an extended period.
The early exposition scenes introduce us to Stroud, Janoth's top employee, known for his skills in solving crimes with the help of his dedicated staff. The use of a bulletin board to organize various clues adds a unique element to their investigations. We also learn that Stroud's desire for a long-overdue honeymoon with his wife pushes him to the brink of quitting his job.
The story takes an intriguing turn when Stroud resigns but misses his train to meet his wife. Instead, he finds himself in the company of Janoth's mistress, Pauline York. Their encounter leads to a series of events that culminate in Janoth accidentally killing Pauline with a sundial purchased by Stroud. In a bid to cover up the crime, Janoth manipulates his staff into investigating a fictional character named Jefferson Randolph, whom Pauline had concocted as her alibi.
Stroud is coerced into returning to work by Janoth, fearing his implication in the murder due to the inscription on the base of the sundial. The plot thickens as Stroud must navigate the investigation to prevent his staff from suspecting his involvement. Along the way, he uncovers crucial information from a cabdriver and an antique dealer, all while evading identification by an artist who could potentially expose him.
The climax of the story unfolds in Hagen's office, involving Stroud, his wife, and a friend from the bar where he acquired the murder weapon. Accusations are made, alibis are questioned, and the tension reaches its peak as the truth is unveiled. Janoth's desperate attempts to escape lead to a fatal encounter in an elevator shaft.
While "The Big Clock" has elements of film noir, some argue that it doesn't fit the genre's conventions entirely. Although Pauline York possesses traits of a femme fatale with her history of affairs, it is George Stroud's actions and decisions that primarily drive the story, rather than falling prey to her seductive influence. Moreover, the film diverges from the typical noir outcome, as the protagonist ultimately prospers rather than meeting a tragic fate.
The prominent image of the big clock, symbolizing Janoth's megalomania, has sparked discussions. However, it is worth noting that its direct impact on the plot is limited. In contrast, films like "The Stranger" utilize clocks in more integral ways, such as with the striking of an appointed hour leading to a decisive turn of events.
After a somewhat slow start, "The Big Clock" successfully holds viewers' interest with its escalating tension. It is worth mentioning that the plot hinges on the police not discovering the victim's body, which may raise questions regarding the plausibility of friends not reporting her absence over an extended period.