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Plot:

Tom Rath lives in Connecticut and commutes to work every day in Manhattan. He’s happily married and has a loving wife and three children. Money is a bit tight and when the opportunity arises, he applies for a public relations job with a major television network. During his long commute to work everyday, Tom reminisces about the war. Although 10 years have gone by, he is still haunted by the violence and the men he killed. He also thinks of Maria, an Italian girl with whom he had an affair while stationed in Rome. At his new job, the head of the network Ralph Hopkins takes an immediate liking to him. Tom soon realizes that he will have to choose between becoming a wholly dedicated company man or maintaining a healthy work-life balance. When he learns that Maria gave birth to his son after he left Italy, he decides to let his wife know and ensure that the boy is cared for.

Also Known As: L'homme au complet gris, O Homem de Fato Cinzento, Roma'daki sevgili, O Homem do Terno Cinzento, The Man in the Gray Flannel Suit, L'uomo dal vestito grigio, De man in het donkere grijze pak, Harmaapukuinen mies, Manden i gråt, El hombre del traje gris, Omul în costumul de flanel gri, Mannen i grå kostymen, Mannen i grå dress, A szürke öltönyös férfi, Der Mann im grauen Flanell, Der Mann im grauen Flanell West, O anthropos me to gri kostoumi, Covek u sivom odelu, Человек в сером фланелевом костюме Soviet, Mardi Ba Kot o Shalvare Khakestari, Czlowiek w szarym garniturze, Мъжът в сивия костюм

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  • noemi-popa
    noemi popa

    Gregory Peck and Jennifer Jones who ten years earlier lit up the screen in Duel from the Sun get together again for a film that’s as far removed from that classic as George Washington to George Bush.The Man in the Grey Flannel Suit just doesn’t translate well for the screen. A whole lot of plot elements, some in themselves could be film subjects, don’t quite mesh together to make a whole film. Gregory Peck is Mr. Fifties typical suburbanite with the wife, three kids and a mortgage and looking to do better for himself and his family. One of his commuter friends, Gene Lockhart tells him of a job opening at a TV network and he applies for it. The head man, Fredric March likes him enough, but Peck arouses the jealousy of others in the place like Henry Daniell and Arthur O’Connell.He’s also got an inheritance problem when he gets a sprawling estate from his grandmother and then her caretaker, Joseph Sweeney, looks to contest the will. And he’s got something dropped on his doorstep from his World War II service as a result of a wartime romance.Some parts of The Man in the Grey Flannel Suit are nicely done. My favorite moment in it is when Lee J. Cobb playing a judge in an informal hearing in his chambers deals rather nicely with the issues Sweeney raises.Fredric March as the communications tycoon is drawn from William S. Paley of CBS and does very well. I’m not sure why his family problems get put into the story. He’s having problems with his rebellious teenage daughter Gigi Perreau. That could have been a film unto itself. Even the wartime flashbacks could have been a film plot easily. Keenan Wynn as Captain Peck’s sergeant and Marisa Pavan as his wartime inamorata do very well in their roles. I wouldn’t be surprised if this wasn’t inspired by Dwight Eisenhower and Kay Summersby.Jones and Peck still have a lot of good chemistry left over. I wish they had been given a more coherent story to act in.

  • gratiana-georgescu
    gratiana georgescu

    The acting is so good you can’t tell anyone is acting. Fredric March is the greatest American film actor. In this film he is the father who built the company and lost his family. The cinematography is so beautiful, the music and direction are first rate. Peck is the everyman who has to make the choice of career or family. Ann Harding (March’s long suffering wife) is a stand-out in a small role. Everyone in grad school should see this movie before they take that job with the firm.

  • greta-petrauskas
    greta petrauskas

    Gregory Peck has never performed a better role, and I loved every minute. It is one helluva movie. I don’t know what WWII veterans would say, but I speculate that this movie is more an accurate representation of a soldier’s experiences after returning from WWII than “The Man in the Gray Flannel Suit” is the product of a creative screenwriter. The movie doesn’t sugar-coat soldiers’ flaws, nor does it dilute the sacrifices made by the American soldiers of WWII.Certainly Tom Rath’s was an exceptional case, but elements of his character were undoubtedly derived from each and every veteran that returned from the war.If you love stories about WWII and would like to get the perspective of an average soldier’s experiences (during but mostly following WWII), then this movie is definitely for you. I firmly believe that you won’t be let down.

  • matyas-pospisil
    matyas pospisil

    Nunnally Johnson is a good writer – but maybe not such a good director. This film is so dull to look at that it almost dies. The Cinemascope frame makes it look all the duller, and the cheap, fake sets look very, well, cheap and fake!But the central idea here is fascinating. The film takes a serious look at how difficult it was for men to return to ordinary everyday existences after the horror of the war. Gregory Peck is fine in the lead role, but Jennifer Jones is a little shrill as his wife.The supporting cast is excellent. Fredric March gives one of his best performances as Peck’s troubled boss – and Ann Harding is sensational as his unloved wife. And Henry Daniell as Peck’s business rival almost steals the picture.But the film is way over-long and the ending very trite. Still worth a look.

  • priit-teesalu
    priit teesalu

    Gregory Peck relives his war experiences as he tries to settle down to a normal existence as a civilian following World War 11. Move over, Frederic March, (“Best Years of Our Lives” and also in this film as well,) Peck has other problems.It seems that he fathered an illegitimate child while in the service. The mother wants Peck to help out financially.News of this indiscretion is a natural shocker to wife Jennifer Jones, who reunited with Peck after the memorable “Duel in the Sun.” Screaming and beside herself at first, Jones comes to realize that helping the child is the right thing to do under the circumstances.Lee J. Cobb, a great under-rated actor is tops as Judge Bernstein, who will work with Peck to provide for the child.A wonderful film depicting a moral dilemma.

  • margrieta-krastins
    margrieta krastins

    The Man in the Gray Flannel Suit (1956)Such a considered movie. And such great scenes deflated by overambition or by just enough implausibility to undermine the sincerity needed to work. It’s not uninteresting. It’s not even bad in any way.First, what works? A stylizing not from Douglas Sirk, with a slightly exaggerated truthfulness to deeply personal affairs. It’s a beautiful film, well paced, well seen. It has some wonderful acting. Not only is Gregory Peck his usual steady, if slow, persuasive self, a paradigm of admirable poise, but the surrounding cast is underplayed (mostly) and sharp. The way the acting (and set design–such moderne furniture!) make up that world is convincing even as it is arch. It really makes Mad Men a bit lame in the long view.But there are flaws. One is a pace that is slow in order to seem measured, or as I say, considered. Everything is quite important even when it is small. We are to feel the misunderstanding between father and daughter, we are to really sense to empty and rather meaningless corporate world that is the main backdrop. And we do. If you get absorbed, all is well. Only the war flashbacks seem false. It’s not a war film, I know, but if that’s the case, we are at a loss how to look at the war sequences (which are important and long) with any seriousness.Which brings up a more subtle and pervasive problem: the overall timing of the issues if off. The key crisis within Peck’s character is a resolving of his war time experiences, good and bad (mostly bad, I guess, but he had a beautiful love affair and child, too, which can be seen as good). He struggles with this and the issue gets forced into the family of his wife and children. But the war was over ten years earlier. He even says this at one point, that it’s so long ago, why are people so concerned? And yet it affects him in the same way fictional characters in late 1940s movies are affected. I think the flashbacks can be real a decade or two later, but the social adjustments seem delayed to me.Jennifer Jones is quirky in her role here, and I came to see, especially after she blows up at Peck in one scene, that she’s quite perfect and brilliant as a 1950s mom and wife. Frederic March is really brilliant as a wise but troubled aging executive (a reminder why he was once such a convincing leading man). And Lee Jay Cobb gets a turn as a lawyer, giving it some life. Everyone is quite good, in fact, except the two servants–the odd older nanny for Peck’s kids and the troublemaking old servant threatening a lawsuit. There are a few odd turns that are attempts at humor, and they don’t work. The good humor is enough to keep the movie from unrelenting somberness. An interesting transition into the culture of the later 1950s.

  • aleksandar-hettner
    aleksandar hettner

    The Man in the Gray Flannel Suit is one of my top ten films of all time. Yes, it’s that good. You may have to watch it twice to see everything going on in the film. The secret to watching this film is to put yourself back into the same date and time. Remind yourself of what 1950’s America was like ten years after the war. How Men that had served in the War were supposed to act, behave and get on with their life. How Women whom had been so important during the war, has then had to go back to being housewives again. All of the above will help ‘prepare’ you to get the most out of this film. It is true of some films made so long ago that they become dated. Nothing could be further from the truth with this film. The struggle between reality, expectation, duty, honour and honesty all play their part. The chemistry between the characters is nothing short of perfect. Gregory Peck gives (in my opinion) his best performance of any film that I’ve seen him in. Jennifer Jones portrays the 50’s housewife just brilliantly. Fredric March is one of the best character actors ever and he nails this part as well. The cinematography, use of light and colour is also first rate. Gregory Peck’s character’s use of dialogue is top notch and there are a lot of excellent scenes. As this film was made in 1957, there are a lot of things you have to work out for yourself and which could not be said (due to censorship rules) – but that makes the film all the more intriguing. There actually is not ONE bad actor in this film. Helen Hopkins is outstanding as the fragile wife of a powerful executive. Even the couple’s children play their roles very well and right down to the housekeeper/Nanny who will make you laugh. I hope this recommendation helps your decision in viewing this film – as you’ll be in for a very special treat. I guarantee you’ll still be thinking/talking about it the next day !

  • costanzo-rossetti
    costanzo rossetti

    In my youth i boycotted the gray flannel universe and missed seeing this motion picture. Jennifer Jones’ Mrs. Rath is one very good reason to be happy about this (face goes ugly and sinister when “intense” i.e. pushy & forceful). But Frederick March’s performance as Mr. Hopkins is remarkably deep; he could have mellowed me out a little politically and philosophically, and i’m sorry i didn’t catch his performance sooner. Gregory Peck is uncanny in his ability to play every emotion with the limited range of gestures allowed a totally pent-up, self-controlled man. I note mainly that the movie is a virtual textbook on what was lacking in the self-centered American woman hooked on her own appetites and self-pity. Grand finale, she goes self-righteous. Marisa Pavan’s Italian girl is, by contrast, lovely and hauntingly tender. (In vowing he has forgotten her and declaring that he worships his wife, does Tom Rath emasculate himself?) The fifties high style look is a piece of design history, again, showing the American attempt at copying European style. For the fabulously wealthy, Oriental art. In the boardroom, Bracques. For the upwardly mobile, change of residence. Nunally Johnson captures all this faithfully. The movie is a time capsule, together with a remarkable view into a man’s mind in its social context. The presence of the TV set and appearance as medic by DeForest Kelley (“It can’t be!” i thought, when i heard “This man is dead, Captain.”) make the movie prophetic. The African-American sergeant also provides an insight into the human versus the proto-gray-flannel (affluent WASP). The gray flannel universe still exists, but what film maker can penetrate it and show its emotional helplessness the way Nunally Johnson did in 1955-56? This film almost makes it, but the parts with Lee J. Cobb as a kind of legal guardian angel seem designed to please the audience, to soften things for the audience. What do you think?

  • dr-toth-viktorne
    dr toth viktorne

    Multiple plots blend to perfection. Each story line (sub plot) explores the shaping of beliefs and attitudes and character. Humanistic approach to “mental illness” issues, trauma of war (PTSD), vulnerability for love, forgiveness, compassion, fairness, responsibility, greed, fairness, ambition, and value of family time.Wonderfully acted, scripted, and directed.

  • lucia-cornejo-avila
    lucia cornejo avila

    the reviewers who found the plot overly complex and disjointed seem to have missed the point of the film, i think. this is the story of a decent guy, straight out of a Frank Capra story (this could’ve been a Capra film starring Jimmy Stewart and Grace Kelly), who finds that it is difficult to raise a family and keep ones integrity in the American rat race, i.e. life IS complex and problems come from all angles. maybe it helps to be able to identify with the main characters, married with kids, mid-life, struggling to stay above water, suddenly realizing that any dream other than getting out of debt seems to be slipping beyond the reach of this lifetime, disreputable rats around each corner trying to take advantage of you. no clear way to tell the rats from people with honest concerns, etc. i thought this movie hit the nail on the head, and the scariest part was that it was made FIFTY years ago (sort of like watching Mr. Smith Goes to Washington and realizing it was made almost SEVENTY years ago), and we know the rats have honed their methods in the interim. in fact, my only disappointments were the twin deus ex machina’s in the form of the judge and the boss. thus, Tom Rath’s (Gregory Peck’s) solution is not an entirely intrinsic one, but one that benefited heavily from a couple of good-hearted people in key positions. that might be too much to hope for in today’s America where guys like George Bailey would be labeled as “unpatriotic liberals” and anybody who succeeds in the system seems to pay nothing more than lip service to the morals of Tom Rath. nine out of ten.

  • meszarosne-nagy-terezia
    meszarosne nagy terezia

    Now I now why everyone had to move to the suburbs in the 1950’s. Everyone was looking for Lee J. Cobb, who plays the benificent judge who keeps hauling Gregory Peck’s derriere out of the fire. Peck is just your average war hero now slogging through corporate trenches who runs into a problem or two but the suburb-based judge is there to bail him out.Fredric March is the business tycoon who’s sacrificed his family for the company, a TV network, wouldn’t you know? Spend a lot of time with your family, March advises Peck. I would but they keep watching TV, our star suggests. Then smash that TV, March declares, undoubtedly echoing the view of movie studios of that period who could see the handwriting on the wall.But a more telling vision of what was to come is shown when Peck sends the children to bed but lingers to watch the cowboy movie that entranced the kids. Instead of leaving, Peck sits down in front of the set as the scene fades.As any kind of insight into corporate light, this film moves far too stiffly to be critical but there’s a soap opera feel to the goings-on that is somewhat captivating.

  • marine-ayvazyan
    marine ayvazyan

    Gregory Peck’s character Tom Rath is dishonest on several levels and his wife Betsey (Jennifer Jones) knows it! At the films beginning, she says “You’ve changed!” Through several flashbacks, we see some Tom Rath’s rough war life. And Jennifer Jones pushes him to achieve, and go for the better job, but maybe it’s because she KNOWS she doesn’t have his whole heart, as she once did. And he’s losing his moral backbone too!Work—Will he be a “yes” man or will he tell his boss the truth? Home—Will he tell his wife the truth about his war past? And how will they deal with the consequences??? Family vs. Work–Will he be a “9 to 5” man? Or will he climb up the corporate ladder with a boss who admires him???Great supporting role by Frederic March, as his boss… —– DVD has great commentary by James Monaco, who was in his youth in the 50’s, and a man unknown to me but a media and film expert (per the website he gives out at the end). He mixes standard film commentary with relevant “life in the 1950’s” details.

  • kayla-orlando
    kayla orlando

    A wonderful film about a returning WW II vet having trouble fitting back into society, and feeling like a cog in some giant wheel. He also has to deal with flashbacks, and his indiscretion, which wind up affecting his marriage. A classic film. Should be on all Top 100 lists.

  • henri-tessier
    henri tessier

    This movie from the 1950’s goes beyond the conflict in balancing home and work commitments because it also deals with the loss of idealism by young people who become caught up with the need to provide and the competition to succeed. Life seems to have gotten worse in the 60 years since this movie was made. In fact, some people, both men and women, have given up on the idea of family life in favour of success in the business world. One can only guess at the level of social dysfunction from our addictive and artificial work environments. In this movie, a cast of exceptional acting talent provides great entertainment as well as an insight into the shallow lives that many people began to lead in the 1950’s. Jennifer Jones signals her dissatisfaction with her husband’s work ethic. This at first struck me as a yearning for a lost youth, wanting her husband Gregory Peck to provide for his family while keeping his knight in shining armour image. But Jones is no status seeker; she senses the boring conventional work world that her husband inhabits is not healthy for him or the family. Fredric March, that icon of American integrity, is the company Chairman. On the surface, he pays lip service to family values but struggles with his own estrangement from his wife and a daughter’s elopement. Peck learns from March as a mentor but also in his failings as a man. Lee J. Cobb has a supporting role as judge and family friend. Towards the end of the movie, after some setbacks, Peck and Jones take a courageous step together that shows their own integrity and their maturity as a couple. The movie is a another landmark for the World War II generation who came back to civilian life and encountered a new world. It is one worth watching!

  • vidar-abrahamsen
    vidar abrahamsen

    The novel by Sloan Wilson, in which this film is based, offered an innovative view of the life in a small “bedroom community” in the Connecticut of the 50s. Nunnally Johnson, the director, and adapter, tried to bring the essence of the book to a film that would make sense of the text. At times, Mr. Johnson succeeds, but the film he gave us is a bit dated when one looks at it today.Granted, some things never change, but the conflicts that made the basis for this melodrama, have been dealt with, more effectively in other, more distinguished films.If you haven’t seen the film, perhaps you should stop here.In the center of the story we are presented with the epitome of decency: Gregory Peck. This great man was an excellent actor, his honesty exudes from every pore of his body. As Tom Rath, the former Captain of WWII, he has kept a secret that comes to haunt him at a crucial point of his life. Tom is ambitious, but he will not play the game until the kind president of the corporation has a heart to heart talk with him, recognizing Tom is a rare commodity in the business world. The film offers a view of the complexity that is the corporation, as we knew it then. Greed had not taken over business yet. But what comes across clearly is the ambition of the people in the game of climbing the ladder of success.Tom is happily married to Betsy, who shows signs that maybe she’ll become either an alcoholic, or a Stepford wife. Her life goes into a tail spin because of the reality she must face in accepting what Tom has kept hidden inside. Betsy is not an endearing character; she doesn’t elicit our sympathy until the end of the film, in which she comes to accept her lot in life. Jennifer Jones’ interpretation of Betsy is not as effective in this film, perhaps because of the direction given by Mr. Johnson.The cast if first rate. Fredric March and Lee J. Cobb, two of the best all time actors of the American stage and screen give life to both of the characters they play. Seen in the pivotal role of Maria, Marisa Pavan, the gorgeous Italian actress makes an impression on us. Keenan Wynn, also, has a small, but important part in the film.View this movie as a curiosity piece, as it has lost some of the appeal it might have caused when it first came out.

  • arsen-nazarenko
    arsen nazarenko

    It’s amazing this film came out of the 50’s. It’s even more true today, than it was then, now things are so rigidly stratified in our society that people can’t even relate to considering being a Workaholic anything other than ‘worthwhile’ and ‘normal’. Rat Race lifestyle, is all America is about now. Misery, stress, alienation, isolation; great material wealth but a dysfunctional society that has made little robots and zombies out of each of us. Remember how vibrant you felt as a child, how full of wonder? Remember being excited about the chance to play with other kids? Now we dread every minute of our lifestyle, yet still smile and say “things are going okay” when asked. What liars we have become. A culture of liars and cruel, vicious people, with plastic smiles frozen on our faces and our deep heartache and longing hidden away. This film shows that America has been on the wrong path for a long time and it’s only gotten worse. Great film!! Peck is adequate, but considering the times he lived in, a pretty good performance. It’s the writing and the messages of this film that stand out!!

  • fabiana-lourenco
    fabiana lourenco

    While this is not one of Gregory Peck’s more famous films, it sure deserves to be–particularly for its deep, complex and amazingly adult plot. Now I do not say “adult” as in sleazy or violent, but because the film dares to tackle the true problem caused by overseas romances during WWII.Peck is a top executive with his firm and is happily married. Life is very good. However, unexpectedly, Peck discovers that he’s got a child living in Italy. It seems that when he was there in the war, his brief romance had resulted in a child. He never knew that had occurred and being a decent man at heart, when he learns he can’t allow the child to continue as just another little bastard. Despite every reason to pretend the child did not exist (pressure from his wife and boss), he bravely did the right thing–and that is the essence of so many of Peck’s greatest characters. They weren’t perfect, but like Atticus Finch in TO KILL A MOCKINGBIRD, he acted even when it would have been so much easier and safer to have done nothing. A wonderful film.

  • frantisek-fiala
    frantisek fiala

    her character in this film, has been a source of annoyance. I wonder if it just the paralysis women were living in in that era? The story is interesting; Gregory Peck as an ethical executive, trying to get ahead; his wife seems more concerned with his inheritance, apparently his relative has died and left him a mansion in rural (at the time)Connecticut.This American dream is deferred when Peck learns he has sired a child during the war. He wants to do the right thing, as the child is living in poverty.Peck’s children are particularly annoying. They watch television 24/7 and their father is only of interest to them if he brings them a present. This for some reason reminded me of shows like “Father Knows Best” where all was well at hearth and home, and every other problem in life was solved. Perhaps this paternalistic view is some source of our family problems today; If Dad couldn’t fix everything, who could?.Lee J. Cobb portrays the family lawyer, and there is some hint of class differences, as Peck’s family butler assumes control of the estate; and a legal battle ensues. It is still interesting today to reflect on the dichotomy of values, family was important, but materialism was ever more present in the American psyche. A country house in Connecticut was “de rigeur” for a successful executive.Overall, an interesting commentary on American suburban life circa 1956. 8/10.

  • rikke-gregersen
    rikke gregersen

    A man, feeling pressure from his wife for a better lifestyle, takes a new job with increased pay but added stress. To make matters worse, he becomes embroiled in legal actions concerning an inheritance from his grandmother. On top of all this, he learns that some of his actions in Italy during World War 2 have come to haunt him. This is a well told story with many sides to it, and I feel the use of flashback went a long way in making it even better. Well worth seeing.

  • neli-kuprashvili
    neli kuprashvili

    “The Man In The Gray Flannel Suit” (1956) is something we don’t get from our cinema-going experiences anymore; an analytic and methodical glimpse into the issues of family strain that either drive us to distraction or build our moral character. The film stars the quintessential man of integrity, Gregory Peck as Tom Rath. He’s a congenial good natured gentleman whose career doesn’t seem to be living up to the expectations of his wife, Betsy (Jennifer Jones). Prodded by Betsy’s nagging, Tom takes on a more lucrative position at an ad agency, then discovers that a part of his almost forgotten past has come back to haunt him. During WWII Tom and fellow soldier buddy, Caesar Gardella (Keenan Wynn) picked up a pair of Italian girls and had some behind-closed-doors fun to alleviate the pressures of war and home sickness. That night results in the birth of an illegitimate child. What to do? Tell Betsy? Go to Italy? See the child? What to do? Working from a masterful bit of authorship by Sloan Wilson, director/writer Nunnelly Johnson has brilliantly conceived a poignant cinematic reflection of a man pushed to the edge of his temperament, who decides to rise to the occasion rather than toss everything he’s worked hard for into the ash can. Gregory Peck is the very essence of manly integrity – a stoic charmer that completely satisfies and buttresses the whole film. Yes, the ending is a rather matter-of-fact conclusion to the whole quandary, and in a manner befitting 50s sexual politics, but until then the story functions as something of a zeitgeist for honor, self-reliance and self-reflection in the every man that is sourly lacking in any of our contemporary representations of cinematic masculinity.The transfer from Fox Home Video is, in a word, marvelous. It’s Cinemascope (2:35:1) and glowing from corner to corner in the rich vibrancy of 50s Technicolor. Transitions between scenes suffer from the inherent flaw of all early scope movies (a momentary degradation in color and sudden grainy characteristic). But this is a flaw in the original photography, not the DVD transfer. Colors are rich, sumptuous and bold. Contrast levels are bang on. There are rare hints of film grain, mostly in the war time flashback that uses actual newsreel footage. Contrast levels are also a bit lower than one would expect during these scenes. Overall, the image will surely NOT disappoint. The audio is remixed to stereo and recaptures much of the original vibrancy of six track magnetic stereo. Extras include audio commentaries, trailers and a restoration comparison.

  • stephanie-davis
    stephanie davis

    This film reaches far beyond its time. In every way, shape and form; from the troubles to the triumphs of the protaganist, to the intensity and sincerity of its ethos, this cinematic work is an under exposed classic. It is my hope that this film be rediscovered and in doing so help those lost in a sea of moral relativity to detect delineation. The story cleary exposes the moral and emotional importance of honesty and its consequences. Additionally, the issue of war-time trauma is touched upon and its long-term impact on personal and professional relationships.The performances by all are outstanding and will resonate with the viewer dramatically. As a gen x’r, I found this film to be a breath of fresh air. I am not alone. I pray that this story will be recirculated – for its impact is profound.

  • erica-chambers
    erica chambers

    Ten years after Gregory Peck and Jennifer Jones lit up the screen with their torrid love-hate relationship in “Duel in the Sun,” they were reunited in this engrossing business-domestic drama.The two were surrounded by a great cast, headed by Fredric March and Lee J. Cobb, to offer a sincere portrait of a junior Madison Avenue exec who must choose between being a “big CEO” or a “second-tier nine-to-fiver”.Director/screenwriter Nunnaly Johnson guided the actors in uniformly well-modulated performances, all deeply felt and cleanly expressed. Keenan Wynn offered a surprisingly subtle and touching performance as well, in a film produced by Darryl F. Zanuck, with a Bernard Herrmann score.What a treat it is to watch these fine thespians breathe life into most intriguing characters from Sloan Wilson’s thoughtful novel.

  • sr-a-rodolfo-aponte
    sr a rodolfo aponte

    I had trouble finding this film in the local video store but finally saw it on television. It’s well worth watching. It’s a wonderful commentary on the American suburban corporate culture emerging in the years following the second World War. Peck plays the stereotypical businessman living in Connecticut and taking the New Haven Railroad into New York City each day. He is faced with a number of seemingly mundane dilemmas, such as settling a deceased relative’s estate, how to deal with a dissatisfied wife more ambitious than he, whether to switch jobs for better pay, and whether he should tell his new boss what he *needs* rather than *wants* to hear. Hanging over him are the ever-present memories of his wartime combat experience, which intrude on him occasionally – especially during those otherwise empty hours spent commuting on the train.I disagree with the reviewer who found the film boring apart from the war scenes. One of the reasons why this film works so well is that it regularly jolts the viewer, nearly lulled into complacency by the apparent ordinariness of suburban life, with those sudden flashbacks of the horrors of war. The juxtaposition of these quite different scenes was quite deliberate and speaks volumes in itself. How is it possible for someone who has spent four years both killing and avoiding death to settle into a normal life of family and work? Obviously it’s not easy.Furthermore, death continues to haunt the family in various, almost light-hearted ways, particularly by way of the children who were born after the carnage had ended and for whom death is no more real than the gunfights in those television westerns to which they are so conspicuously addicted. A scene near the beginning has one of the girls suffering from chicken pox, a fairly minor malady, as everyone knows. But she tells her father she has “small pox” and her sister keeps teasing her with the morbid suggestion that she is going to die. The father tells her to stop, but she keeps it up. He knows what death is all about; his children do not.The term “workaholic” had not yet been coined in 1956, but the contrast between the man who chooses a fuller, less driven life – including time for family – and the man married to his career could not have been more starkly portrayed. The viewers find themselves applauding the choice Peck eventually makes and pitying March for not having done so himself.I am a great fan of the score’s composer, Bernard Herrmann, whose music is uniquely capable of evoking a range of strong emotions in the listener. The music here is typically Herrmann, although it is not as central a “character” in this film as are his scores in, say, “Vertigo” and “Psycho.” It is impossible to imagine the latter two films without the music, while this film seems less obviously dependent on its score.Although I quite liked this film, it is overly long and could have been better edited. The several subplots needed to be better integrated into the whole. What, for example, was the purpose of the challenge to Peck’s inheritance, other than to show the persistent salvific role Cobb played in his life? This subplot could easily have been cut and the film would have suffered nothing in terms of its overall impact. In fact, it might have been better for being more tightly constructed.

  • cauhaan-nishaa
    cauhaan nishaa

    I was pleased to get a chance to see this movie — at least half of it — during a bout of insomnia. The title was a catchphrase for corporate America for many, many years, a kind of symbol for overachieving, aggressive, ambitious businessmen without principles — in other words, the “suits.”Though I am generally wary of Gregory Peck’s (and Jennifer Jones’) tendency to niceness, I was impressed by their work here. Their relationship was both substantial and subtle. Jennifer Jones had much much more humanity and integrity than the average housewife portrayed in other films of the 50s and 60s. Peck’s character respected her opinions and values.But I was knocked out by Fredric March. His type A, workaholic executive was touching on many levels. His utter tiredness, alcoholic puffiness, and innate sadness was plastered over with a Willy Loman-like veneer of gung-ho, jolly-good-fellow false heartiness. How familiar that character was and is — in real life. His ambition, greed and drive had become a habit, and like any junky, he was simply unable to quit. Despite the human losses. I will never forget the scene in his office, when his wife calls him up, and he slowly hangs up the phone.A very fine film, with many truths about our national character and obsessions….

  • juhaszne-dr-sandor-eva
    juhaszne dr sandor eva

    In Connecticut, the former WWII officer Tom Rath (Gregory Peck) and his wife Betsy (Jennifer Jones) are happily married middle class couple with three children. However, they have financial difficulties and Tom commutes every day to Manhattan to work in a charitable organization receiving a low salary. Tom is tormented by the traumatic experience in war, where he killed seventeen persons including a young German soldier and he occasionally recalls his love affair with the Italian Maria (Marisa Pavan) in 1945.When Tom inherits his grandmother’s house, her former servant claims the real state but using forged document. Meanwhile Tom is hired to work as public relation of a television network and is assigned to write a speech to the owner, Ralph Hopkins (Frederic March). Soon he needs to decide whether he will be a dedicated executive or 9 to 5 fellows. Further, he learns that he has a son with Maria and she is very needy and he needs to choose between telling the truth to Betsy or keep the secret.”The Man in the Gray Flannel Suit” is a realistic and humanistic drama about choices of an insecure man with a war trauma that frequently haunts him. Tom Rath sometimes is reluctant, thinking in the safety of his family first, but always takes the right decision supported by his beloved wife Betsy. The story has many subplots and one memorable character, Judge Bernstein, performed by Lee J. Cobb. The story is long but never boring. My vote is seven.Title (Brazil): “Homem do Terno Cinzento” (“Man in the Gray Suit”)