Joe Harris, preparing a eulogy for popular radio commentator Herb Fuller, finds that nobody has a good word to say about him.Joe Harris, preparing a eulogy for popular radio commentator Herb Fuller, finds that nobody has a good word to say about him.Joe Harris, preparing a eulogy for popular radio commentator Herb Fuller, finds that nobody has a good word to say about him.
- Nominated for 1 BAFTA Award
- 3 nominations total
Edward Platt
- Dr. O'Connor
- (as Edward C. Platt)
Dorothy Abbott
- Stewardess
- (uncredited)
Walter Bacon
- Mourner
- (uncredited)
Storyline
Did you know
- TriviaLoosely based on the career of Arthur Godfrey.
- GoofsWhen Joe, Mike, and Jinny are listening to the "blood bank" tape, the VU meter has no relation to the audio.
- Quotes
Ginny: Feet of clay, huh?
Joe Harris: Right up to the knees, at least.
- ConnectionsVersion of Pretendent (1987)
- SoundtracksThe Meaning of the Blues
Words and Music by Bobby Troup and Leah Worth
Performed by Julie London
[The song comes on the radio in Carol's apartment]
Featured review
THE GREAT MAN (Jose' Ferrer, 1956) ***1/2
The immense influence Orson Welles' CITIZEN KANE (1941) has had on the language of cinema is well documented. So, to a lesser degree, is the freedom it gave film-makers – not always of comparable talent – towards (vaguely autobiographical) self-indulgence in their work. Yet another ripple it undeniably created (actually borrowed from THE POWER AND THE GLORY {1933}, which I own but have yet to watch!) led to a whole series of films taking a sour look at the American dream, depicting – via their flashback structure – the rise and fall of a successful but, at heart, unscrupulous public figure. Among these are RUTHLESS (1948), ALL ABOUT EVE (1950), THE BAD AND THE BEAUTIFUL (1952), Welles' own MR. ARKADIN aka CONFIDENTIAL REPORT (1955), THE Oscar (1966), etc.
THE GREAT MAN, then, is one such effort – and an unfairly neglected example into the bargain (even if both the Leslie Halliwell and Leonard Maltin movie guides are duly complimentary in their assessment) which rather suggests that it stands up better than other, more renowned titles in this vein! It also emerges as the most significant directorial venture by star/co-writer Ferrer. For the record, I own all 7 of the pictures he helmed – but, perhaps tellingly, this was only the second I have checked out (and which I opted to watch on the occasion of his birthday). Given the Oscar winner's reputation as a thespian, his choice of 'personal' projects was – for the most part – curiously bland and commercial in nature!
Setting this apart from the established formula is the fact that the subject of the expose' is never shown; we only learn about him – and, consequently, formulate our own opinion – from the way others (who knew him intimately, professionally or just vicariously through his popular radio show) react to news of his passing in a traffic accident. Besides, running concurrently with the main plot (the compiling of information by a small-time radio personality – played by Ferrer himself – for a "heart-rending" eulogy, to be delivered in a live broadcast by the network to commemorate "the great man") are the hero's conflicting emotions about his increasingly unpleasant and "phoney" task especially since he was being all but promoted as the deceased's successor on the airwaves!
Ultimately, the trump-cards here – which make all the difference – are the smartly cynical script (co-adapted by novel author Al Morgan) and a first-rate cast that, apart from Ferrer (in fine form), includes: real-life father and son Ed and Keenan Wynn (credited with, respectively, discovering and nurturing the ungrateful and opportunistic titular character); Julie London (as a chanteuse and his alcoholic mistress); and Dean Jagger (as the Machiavellian network head). Incidentally, the copy I viewed of this one was pretty substandard for the digital era (which has well and truly spoiled us movie-buffs, it must be said!) and, while a somewhat better-quality version does exist online, I had difficulty acquiring it...
THE GREAT MAN, then, is one such effort – and an unfairly neglected example into the bargain (even if both the Leslie Halliwell and Leonard Maltin movie guides are duly complimentary in their assessment) which rather suggests that it stands up better than other, more renowned titles in this vein! It also emerges as the most significant directorial venture by star/co-writer Ferrer. For the record, I own all 7 of the pictures he helmed – but, perhaps tellingly, this was only the second I have checked out (and which I opted to watch on the occasion of his birthday). Given the Oscar winner's reputation as a thespian, his choice of 'personal' projects was – for the most part – curiously bland and commercial in nature!
Setting this apart from the established formula is the fact that the subject of the expose' is never shown; we only learn about him – and, consequently, formulate our own opinion – from the way others (who knew him intimately, professionally or just vicariously through his popular radio show) react to news of his passing in a traffic accident. Besides, running concurrently with the main plot (the compiling of information by a small-time radio personality – played by Ferrer himself – for a "heart-rending" eulogy, to be delivered in a live broadcast by the network to commemorate "the great man") are the hero's conflicting emotions about his increasingly unpleasant and "phoney" task especially since he was being all but promoted as the deceased's successor on the airwaves!
Ultimately, the trump-cards here – which make all the difference – are the smartly cynical script (co-adapted by novel author Al Morgan) and a first-rate cast that, apart from Ferrer (in fine form), includes: real-life father and son Ed and Keenan Wynn (credited with, respectively, discovering and nurturing the ungrateful and opportunistic titular character); Julie London (as a chanteuse and his alcoholic mistress); and Dean Jagger (as the Machiavellian network head). Incidentally, the copy I viewed of this one was pretty substandard for the digital era (which has well and truly spoiled us movie-buffs, it must be said!) and, while a somewhat better-quality version does exist online, I had difficulty acquiring it...
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- Bunuel1976
- Jan 10, 2014
Details
- Release date
- Country of origin
- Language
- Also known as
- Marele om
- Filming locations
- Universal Pictures Building, 445 Park Avenue, New York City, New York, USA(Amalgamated Broadcasting building)
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 32 minutes
- Color
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