Interesteg What makes it different from others?

WasAnnon Slow pace in the most part of the movie.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Melanie Bouvet The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

evanston_dad Don't for a second believe anyone who tries to convince you that this is a film noir. The only noir things about "Clash by Night" are its nonsensical title and some actors, notably Barbara Stanwyck and Robert Ryan, who appeared in their fair share of films of that genre.No, "Clash by Night" is a character study of three people caught up in a romantic triangle. Stanwyck is the hard-luck girl who returns to her hometown after some sordid things have happened to her and tries to be happy with a steady-but-boring regular Joe (Paul Douglas). But she's really drawn to the town bad boy (played by Ryan) even though she knows he'd treat her, well, badly. "Clash by Night" is adapted from a Clifford Odets play, and its stage origins show. It's a pretty talky film and feels fairly stagy despite being helmed by master director Fritz Lang. On the plus side, it offers some really satisfyingly complex characterizations and allows three talented actors to develop characters that defy easy categorization. It also asks us to think about the film's casually violent treatment of women, either literally or rhetorically, a theme that feels especially relevant just now.Grade: B

seymourblack-1 Set in Monterey, California, this movie's opening sequence with its early-morning shots of people at work quickly illustrates the importance of the fishing industry to the local economy and crashing waves signal the turmoil that follows when one of the town's residents returns after an absence of ten years. Emotions run high in this tale of betrayal, adultery and selfishness whilst the passions of its characters ensure that violence, or the threat of it, is never far away.When Mae Doyle (Barbara Stanwyck) returns to Monterey, she says it's because "home is where you come when you run out of places" and describes her life in four words "big ideas, small results". Deeply cynical and disillusioned after years in the big city, she comes back to her old home where her younger brother Joe (Keith Andes) is less than thrilled to welcome her back and after a couple of weeks, she starts a relationship with Joe's boss Jerry D'Amato (Paul Douglas). On their first date, fishing boat owner Jerry, introduces Mae to his good friend Earl Pfeiffer (Robert Ryan) who's a movie projectionist. He's immediately attracted to Mae but she says she doesn't like him.Good-natured Jerry and the more sophisticated Mae decide to get married despite her admission that she doesn't love him. She marries mainly for the security and stability she thinks it'll give her and when she also becomes a mother, Jerry's extremely happy. The restlessness that had always been a part of Mae's character starts to trouble her again when she gets bored with her married life and soon after, starts an affair with Earl. He's a hard-drinking woman-hater who's recently divorced his wife who was a touring burlesque performer. When Jerry's told about the affair, he challenges his wife and his friend face-to-face and Mae says she wants to stay with Earl but the events that follow, make the final outcome uncertain right up to the story's dramatic conclusion.Loneliness or the fear of it plays a significant part in the relationships of the main characters as it's an implied factor when Mae hooks up with Earl and then later, when Jerry wants to take her back, she says "everyone is lonely, lost". Earl, on another occasion says "help me Mae, I'm dying of loneliness" and Jerry, after recognising his father's loneliness, says to Mae "I suppose that's what everyone's afraid of, getting old and lonely". The link between powerful passions and violence is also referred to as Joe makes it clear to his girlfriend Peggy (Marilyn Monroe) that he considers it perfectly acceptable for a man to give his wife a black eye if necessary and even more powerfully, when the extremely mild-mannered Jerry becomes determined to strangle Earl to death.The opening sequence of this movie is very effective and the grim realism of the melodrama that follows adds greatly to its power and authenticity. The quality of the acting is also generally good with Barbara Stanwyck and Robert Ryan standing out and Marilyn Monroe making a strong impression in one of her earliest dramatic roles as the very spirited Peggy.

madmonkmcghee Although available in Warner Bros Film Noir Classics collection this is not a noir movie by any stretch of that term. Both Stanwyck and Ryan have appeared in noirs and Fritz Lang has made some classics of the genre, but this is solid melodrama. For me there were several reasons for liking and disliking this movie: Pro: Stanwyck and Ryan are outstanding as usual, Marilyn Monroe pleasant and performing well enough, the dialogs are frequently sharp and revealing and Lang's directing make it almost feel noirish. Contra: Paul Douglas' performance is way, way over the top and his character too good for this wicked world. The other supporting actors would also be more at home in a Frank Capra feel-good story. Also you constantly wait for the movie to catch fire, but it just sizzles along to a disappointing ending. Conclusion: worthwhile, but don't get your expectations up too high. And please don't call it noir.

christopher-underwood Great film. A big film full of brooding with simmering passions and crashing waves. Barbara Stanwyck is startlingly good in the central role as she takes us with her on her domestic roller coaster ride. Will she, won't she? What is it all about? Robert Ryan does well in an equally difficult role, somewhere between rock bottom loser and confident romantic lover. Paul Douglas seems to struggle at first as the humble good guy as he verges on the buffoon, but recovers and get stronger with the changing of his role. The fishing and factory scenes are tremendous and add much to the backbone of the story, illustrating the precarious security it provides those struggling to survive each other. Monroe shines in a minor role and is as irresistible as ever despite some unflattering clothes. This is not a noir and nor is it an early Lang classic but it is what it is, a very powerful and well told (and shot) melodrama of the highest order.