Perhaps not one of the all-time great wartime romance films ('Casablanca' being the quintessential one), but still ranks very highly as one. It really charms and touches, has great performances and direction and it is among the best films and performances of both Judy Garland and Robert Walker.
Where 'The Clock' fares least is in some of the background photography, which is less than audacious and gives the impression that it was done in haste and it is a shame because 'The Clock' does look lovely everywhere else. Most of the photography is handsomely done, the production design elegant and atmospheric and really liked the fact that the city felt like a main character rather than just a city or a set.
George Bassman's music score is lush without being over-bearing or too syrupy, while it will never be one of the greatest film scores it works within the film and complements the atmosphere well. The script avoids being overwrought and melodramatically soap-opera-like, dangers in romance films and that both those traps have been fallen into has hardly been unheard of. The story is full of charm and touching pathos, with an ending that wrenches the heart.
Vincente Minnelli's direction is some of the most sensitive he's ever given and he clearly shows a love for Garland and a passion for the story.
As wonderful a singer she was, anybody doubting Garland's acting ability (never have by the way) should look to her beguiling and poignant performance in 'The Clock' (as well as her best performance ever in 'A Star is Born') for a re-assessment. Walker similarly is a charming and sincere leading man, not only one of his better performances but to me his second best after his iconic Bruno Anthony in Hitchcock's 'Stranger on a Train'. Their chemistry is irresistibly beautiful, and it brings me to tears knowing that both met tragic ends so young.
They are supported by a superb supporting cast, a sympathetic James Gleason and a very funny Marshall Thompson standing out. Not to mention Keenan Wynn as a very naturalistic and scarily realistic but entertaining drunk.
Overall, great and moving film that should be better known. 9/10 Bethany Cox
Where 'The Clock' fares least is in some of the background photography, which is less than audacious and gives the impression that it was done in haste and it is a shame because 'The Clock' does look lovely everywhere else. Most of the photography is handsomely done, the production design elegant and atmospheric and really liked the fact that the city felt like a main character rather than just a city or a set.
George Bassman's music score is lush without being over-bearing or too syrupy, while it will never be one of the greatest film scores it works within the film and complements the atmosphere well. The script avoids being overwrought and melodramatically soap-opera-like, dangers in romance films and that both those traps have been fallen into has hardly been unheard of. The story is full of charm and touching pathos, with an ending that wrenches the heart.
Vincente Minnelli's direction is some of the most sensitive he's ever given and he clearly shows a love for Garland and a passion for the story.
As wonderful a singer she was, anybody doubting Garland's acting ability (never have by the way) should look to her beguiling and poignant performance in 'The Clock' (as well as her best performance ever in 'A Star is Born') for a re-assessment. Walker similarly is a charming and sincere leading man, not only one of his better performances but to me his second best after his iconic Bruno Anthony in Hitchcock's 'Stranger on a Train'. Their chemistry is irresistibly beautiful, and it brings me to tears knowing that both met tragic ends so young.
They are supported by a superb supporting cast, a sympathetic James Gleason and a very funny Marshall Thompson standing out. Not to mention Keenan Wynn as a very naturalistic and scarily realistic but entertaining drunk.
Overall, great and moving film that should be better known. 9/10 Bethany Cox