Dr. Praetorius, your wanted.

Simply one of a handful of films that impact society decades later, in the hands of a master storyteller, Joseph Mankiewicz. A cast of casts: Cary Grant, Jean Crain, Walter Slezak, Hume Cronyn and Sidney Blackmer for starts. Dr.Praetorius (Grant) teaches at the local medical school,attended by his always-present mute (Finlay Currie). A rival doctor connives to get to the bottom of this shameless display. Before long this competent doctor intevenes with one of his students (Crain) in a very gallant,compassionate way before his past catches up to him. Grant's unconcern and Cronyn's connivery builds in suspense. Only at the symphonic finish do things tie together. What contemporary film has room for the doting proud single-dad of Jean Crain's, played by the refined, debonair Sidney Blackmer, a never-do-well professionally, who's only lasting pride is his daughter? Watch the scene around the family farm radio when Dr. Praetorius (Grant) is allowed to comment on those who must humbly watch from the sidelines of life because their talent was undervalued, while others can idle with plentiful farm subsidies. The film is caught in the 50's paranoia of communist conspiracies, the smear of innuendo and a Puritanical society, yet proceeds with great suspense to the end, where it is neatly resolved and justice is served.This should be a film talked about and studied for its character strengths (including eccentricities) moving storyline about the human conditiion, and inspiring belief in the decency of man. The economy and depth of expression all at once is astounding in this wonderful film.

Sinister Philosophy Masquerading as Comedy-Drama

When I first saw "People Will Talk" I felt uneasy and I couldn't quite figure out why. It required a closer, second look. It was then that I realized what this movie was all about: "frothing up" some collectivist German philosophy using two very popular stars of the time - directly on the heels of the victory over the Nazis.

The whole tone of this movie is ominous. Grant seems to feel it's his duty to marry the single pregnant woman; there's no real chemistry between them at all, just a display of tenderness - a far cry from actual love. Grant ends up taking care of his new wife's seemingly able-bodied relative (there's never any explanation of what the man does all day) when he's not watching Walter Slezak slink back into the orchestra (the body politic, conformity) after being chastised for expressing himself individually; and Grant himself tells his inquisitor about how he used an alias as his only way to practice medicine in a suspicious community. I could go on.

Other reviewers have asked where the "there" is in this movie. It's there. It's just not the "there" the average viewer is searching for.

This movie makes for a wonderful bridge between the Nazi era and the rise of McCarthyism. One could argue that it was intended to sound an alarm bell; my own guess is that the stars really didn't understand the origins of the screenplay.

The tone and messages of this movie are poles apart from "The Fountainhead," which espouses individualism at any cost and where the viewer can also witness real passion between Cooper and Patricia Neal as well as a closing "inquisition" in which the leading man never makes excuses for his personal identity.

I'm no Objectivist, but if I had to choose between the messages of the two films, I surely would run, not walk, from the sinister implications of "People Will Talk".

Watch it with your eyes wide open.

Among Cary's Best

This is a remarkable movie. Adapted to the American screen from writer Curt Goetz' "Frauenartz Dr. Praetorius", the plot is simple and somewhat superficial. In the hands of director Joseph L. Mankiewicz, though, it turns into a gentle, thought provoking comedy of manners that showcases Cary Grant's genius at debonair humor, even though it might come in the middle of surrounding high drama.

The movie opening introduces us to the immediate plot line, with Hume Cronyn, playing a stuffy professor of medicine obviously envious of the good Dr. Praetorius, investigating Cary Grant's background prior to arriving at the university. The romantic interest is carried by Dr. Praetorius being smitten with student Jean Crain (who, at 25, was initially considered to be too old to play the co-ed role) and her out-of-wedlock predicament.

If one is asked what the movie is about, it is a queston that is difficult to answer. The plot is fluff, but the themes of medical ethics, humane treatment of patients, selflessness and witch hunt prosecution of the innocent are universal and apropos of modern life. At one point, Dr. Praetorius speaks about the unthinking distillation of medicine to the point of creating a "mechanical doctor." Needless to say, love conquers all and the righteous prevail. All this, set to the rousing strains of Brahms' "Academic Festival Overture."

The supporting cast is wonderful, from Walter Slezak as the loyal friend to Margaret Hamilton in a delightful scene, to Finlay Currie, as Mr. Shunderson, practically stealing every scene he is in. Sidney Blackmer, Will Wright and Basil Ruysdael also play pivotal roles.

Much has been written about Cary Grant, more than can be cited in this small review. This movie, released in 1942, was at the beginning of an incredible run of fine movies Grant made (his first credited film was released in 1932) from 1937's "The Awful Truth" to "Walk, Don't Run" in 1966. Writers have commented on his good looks, his sartorial elegance, his panache, all the way to his dimpled chin. But, in my opinion, if one wants to understand what a complete actor he was, watch his hands. They are never out of character; they are always doing exactly what his character needs. They are as elegant, whether in drama or comedy, as Cary's character needs them to be.

As for the DVD version, there is nothing notable extra on the disk, but it is a good, clean copy. I saw only one awkward cut during a scene on the farm porch, otherwise it is intact. I last owned this movie in Beta format and have not seen it in some time, since it is no longer played on television. It was a pleasure to renew my acquaintance with a movie that left me feeling good about movie making again.