Producer: William Wyler. Copyright 9 June 1952 (in notice: 1951) by Paramount Pictures, Inc. New York opening at the Capitol: 16 July 1952. U.S. release: July 1952. U.K. release: 28 July 1952. Australian release: 10 October 1952. Sydney opening at the Prince Edward: 10 October 1952 (ran four weeks). 10,956 feet. U.K. and Australian running time: 121 minutes. Cut to 118 minutes in the U.S.A.
NOTES: Winner of Britain's Picturegoer Seal of Merit. Number 12 at Australia's ticket-windows for 1952. Second to "Here Comes the Groom" as Paramount's top-grossing Australian release of 1952.
COMMENT: One of Wyler's finest achievements, this memorable adaptation of Dreiser's first novel, is not only forcefully acted by its principals, but splendidly set and produced.
Among many memorable scenes is one of the most haunting ever put on film. Towards the close of the movie, just as we are being lulled into the belief that all is going to come out finally right for the now-on-top-of-the-world heroine, we are woken from our dream by a loud, discordant rapping on the sound track. As the camera pulls back, we discover that the hideous noise comes from a night-stick loudly beating against a door. "All up! All up!" cry a number of harsh voices. As the camera dollies back still further, we view a truly enormous set, comprising hundreds of little cubicles in a flop-house. Six or seven of the flop-house custodians are rapping on the cubicle doors, yelling for their occupants to get up and get out. A truly horrendous sight as all these destitute men are herded out of their "rooms" at the crack of dawn and pushed into the unwelcoming street like so many cattle in a slaughter-house. Among these unwanted men, the camera picks out Olivier, now living at the very bottom of the heap.
This three-minute scene was thought too horrific for American audiences, so it was cut from U.S. prints. Fortunately, it was retained in the English and Australian versions. Its removal considerably lessens the impact of the film's closing sequences which immediately follow.
OTHER VIEWS: Wyler has delicately caught the tragedy of a man's downfall and decay; and Sir Laurence Olivier's acting is a triumph. — Dilys Powell.
NOTES: Winner of Britain's Picturegoer Seal of Merit. Number 12 at Australia's ticket-windows for 1952. Second to "Here Comes the Groom" as Paramount's top-grossing Australian release of 1952.
COMMENT: One of Wyler's finest achievements, this memorable adaptation of Dreiser's first novel, is not only forcefully acted by its principals, but splendidly set and produced.
Among many memorable scenes is one of the most haunting ever put on film. Towards the close of the movie, just as we are being lulled into the belief that all is going to come out finally right for the now-on-top-of-the-world heroine, we are woken from our dream by a loud, discordant rapping on the sound track. As the camera pulls back, we discover that the hideous noise comes from a night-stick loudly beating against a door. "All up! All up!" cry a number of harsh voices. As the camera dollies back still further, we view a truly enormous set, comprising hundreds of little cubicles in a flop-house. Six or seven of the flop-house custodians are rapping on the cubicle doors, yelling for their occupants to get up and get out. A truly horrendous sight as all these destitute men are herded out of their "rooms" at the crack of dawn and pushed into the unwelcoming street like so many cattle in a slaughter-house. Among these unwanted men, the camera picks out Olivier, now living at the very bottom of the heap.
This three-minute scene was thought too horrific for American audiences, so it was cut from U.S. prints. Fortunately, it was retained in the English and Australian versions. Its removal considerably lessens the impact of the film's closing sequences which immediately follow.
OTHER VIEWS: Wyler has delicately caught the tragedy of a man's downfall and decay; and Sir Laurence Olivier's acting is a triumph. — Dilys Powell.