Copyright 21 June 1941 by Warner Bros Pictures, Inc. New York opening at the Strand: 20 June 1941. U.S. release: 14 June 1941. Australian release: 23 October 1941. 10 reels. 7,666 feet. 85 minutes. (DVD available from Warner Archive). SYNOPSIS: A stand-over merchant terrorizes a rundown section of the waterfront.
NOTES: The Gentle People opened on Broadway at the Belasco on 5 January 1939. One of the Group Theatre's most successful productions, it ran 141 performances with Franchot Tone as the gangster, Sylvia Sidney as the girl, Sam Jaffe and Roman Bohnen as the old men, Lee J. Cobb as the bankrupt Propotkin, Elia Kazan and Karl Malden. The director was Harold Clurman.
COMMENT: An odd film which defies classification, Out of the Fog started life as a Broadway play, The Gentle People. The title refers to a group of waterfront characters who - despite their somewhat sordid and relentlessly macho surroundings - literally wouldn't hurt a fly. At least not until they meet Goff. For the "fly" in this case - played with a hideously charismatic fascination by the brilliant John Garfield - is no mere household nuisance, but a fully-fledged, viciously heartless stand-over man who really enjoys robbing the "gentle" poor to give to the gouging rich.
In the play, the parallel between the gangster and Hitler, was made strikingly obvious. Although this aspect has been toned down in the screenplay, the adapters have wittily and cleverly expanded the play beyond its original proscenium confines. In fact, in the hands of director Litvak, art director Weyl and cameraman Howe, the moody setting itself becomes a "character" in the action. The whole film takes place at night, which allows atmospheric photography of the various waterfront dives and shanties full rein.
Out of the Fog could be described as a parable, a tract, a philosophical disquisition, a back streets romance, a film noir, a socially conscious crime drama in the realistic Warner Brothers tradition, even a slapstick comedy. It is all of these and more. The writers, assisted by the producer, astutely reinforce all these aspects. For instance, the comedy is given added emphasis by the casting of the Gorceys, father and son; the romance by the presence of sad-sack, but always reliable "other man", Eddie Albert; the philosophy by sad-faced, perennially probing Thomas Mitchell.
Despite its engrossing atmosphere, its vibrant acting and out-of-the rut juxtapositions of nightmare horrors with downbeat slapstick, the movie was not well received by either contemporary critics (including yours truly) or audiences. The script was way ahead of its time. Fortunately it has been rediscovered by more sympathetic viewers of the 21st century.
NOTES: The Gentle People opened on Broadway at the Belasco on 5 January 1939. One of the Group Theatre's most successful productions, it ran 141 performances with Franchot Tone as the gangster, Sylvia Sidney as the girl, Sam Jaffe and Roman Bohnen as the old men, Lee J. Cobb as the bankrupt Propotkin, Elia Kazan and Karl Malden. The director was Harold Clurman.
COMMENT: An odd film which defies classification, Out of the Fog started life as a Broadway play, The Gentle People. The title refers to a group of waterfront characters who - despite their somewhat sordid and relentlessly macho surroundings - literally wouldn't hurt a fly. At least not until they meet Goff. For the "fly" in this case - played with a hideously charismatic fascination by the brilliant John Garfield - is no mere household nuisance, but a fully-fledged, viciously heartless stand-over man who really enjoys robbing the "gentle" poor to give to the gouging rich.
In the play, the parallel between the gangster and Hitler, was made strikingly obvious. Although this aspect has been toned down in the screenplay, the adapters have wittily and cleverly expanded the play beyond its original proscenium confines. In fact, in the hands of director Litvak, art director Weyl and cameraman Howe, the moody setting itself becomes a "character" in the action. The whole film takes place at night, which allows atmospheric photography of the various waterfront dives and shanties full rein.
Out of the Fog could be described as a parable, a tract, a philosophical disquisition, a back streets romance, a film noir, a socially conscious crime drama in the realistic Warner Brothers tradition, even a slapstick comedy. It is all of these and more. The writers, assisted by the producer, astutely reinforce all these aspects. For instance, the comedy is given added emphasis by the casting of the Gorceys, father and son; the romance by the presence of sad-sack, but always reliable "other man", Eddie Albert; the philosophy by sad-faced, perennially probing Thomas Mitchell.
Despite its engrossing atmosphere, its vibrant acting and out-of-the rut juxtapositions of nightmare horrors with downbeat slapstick, the movie was not well received by either contemporary critics (including yours truly) or audiences. The script was way ahead of its time. Fortunately it has been rediscovered by more sympathetic viewers of the 21st century.