Philip Schuyler Green (Gregory Peck) is a journalist who often jumps at the opportunity to provide the public with a riveting story about the joys and the issues of the world. He prides himself on being able to fill the shoes of those that he talks about, making his pieces enjoyable and, in the eyes of his fans, top notch. Gentlemen’s Agreement finds Philip amidst an anti-semetic pandemic that is plaguing the world in which he, his mother (Anne Revere) and his son Tommy (Dean Stockwell) live. He is determined to write a piece that expresses his dislike for the issues regarding anti-semitism, but is unsure of how to approach the subject in a manner that will land on its feet and find success among readers. As he ponders the many possibilities, he comes to the realization that the best way to embody the piece is to pretend to be Jewish. As he plays out his facade he comes to understand, better than ever, the difficulties of the life he has chosen and the hardships that Jews often face in New York City in the 1940’s.
I often look at films from the 1940’s (and before) and find that due to the fact that expectations were a bit lower than they are now, acting performances appear to be cheesy compared to what we see in films today. There are obvious exceptions to this, as some actors have managed to stand the test of time. Gregory Peck is one of those actors. His performance in Gentlemen’s Agreement does just what I said, stands the test of time and manages to reach audiences in both the 40’s and today. His counterparts, Dorothy McGuire (Kathy Lacy), John Garfield (Dave Goldman) and Albert Dekker (John Minify), while not brilliant like Peck, are able to hold their own and help to present the audience with a smooth, cohesive story. With as good as everyone else is, Peck manages to find a way to enhance their performances. He allows them to appear, even in the moments when they fall into that sad space of corniness, he helps to elevate them and keep them even-keeled. Peck is the glue that holds Gentlemen’s Agreement together.
Gentlemen’s Agreement seems a bit far-fetched, as it sees Peck’s Philip Green pretending to be something he’s not in the public eye in order to write a compelling piece. What I love about the film, however, is the fact that it, in many ways, resembles the struggles of Walter Francis White, an African-American man who, with his light skin, was able to infiltrate white organizations in order to better understand those who displayed racism in the 1920’s. The comparisons between what White was able to accomplish and what Green is fighting for throughout the film is uncanny, realistic and, from time to time, gut wrenching. Peck portrays the hardships with such vim and vigor and does what White risked his life for.
The film finds success in nearly every facet. The story is compelling, the acting (particularly by Peck) is fluid and compelling and, even with the added romantic dimension between Philip and Lacy, Gentlemen’s Agreement, even with all of its successes, falls short with its direction. Director Elia Kazan seems to struggle when directing certain scenes. It is clear that there are moments that filming begins before the call of “action.” His inability to guide certain actors and extras through some scenes shines too brightly and causes distractions throughout some of the more pivotal moments. He seems to, on occasion, rush from place to place, cutting some scenes short and leaving something to be desired by viewers. Kazan’s inability to find balance and accurately direct certain scenes is the one flaw present in Gentlemen’s Agreement.
Its groundbreaking nature and Peck’s passion and solemnity are enough to provide Gentlemen’s Agreement with twenty different award nominations. It is disappointing, however, that Kazan was able to procure an Oscar for best director when Peck’s efforts fell short, only earning him a nomination for best actor in a leading role. There’s no justice in this faux pas, and it, in many ways, creates genuine frustration that leads to a bad taste being left in the mouth of some viewers. Kazan is the reason the film isn’t perfect and Peck deserves far more recognition that he received from The Academy of Motion Picture Arts & Sciences (AMPAS), however, I think it is understood that his performance in Gentlemen’s Agreement is unique and truly brilliant. Gentlemen’s Agreement was ahead of its time and accurately brings to life all of the hardships that Philip Green explores throughout its span.
Directed by Elia Kazan. Written by Laura Z. Hobson, Moss Hart & Elia Kazan. Starring Gregory Peck, Dorothy McGuire, John Garfield, Celeste Holm, Anne Revere, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
Comments