Deadline - U.S.A. (1952)

You won't be disappointed!

I don't have all the words right now but this film is a work of art.

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

A hardworking newspaper editor faces pressure from all quarters when a number of simultaneous developments look set to have a devastating impact on his life and the lives of the 1500 people who work with him. For some time, "The Day" had been striving to expose the crimes of New York's leading racketeer but on the same day that the state Senate Committee is forced to drop all charges brought against him, the newspaper is suddenly threatened with closure and the editor's ex-wife (who he's desperate to reconcile with), announces that she's planning to remarry as soon as possible. This perfect storm generates numerous plot strands and the ways in which they're so expertly weaved together, is one of this movie's best qualities.Editor of "The Day", Ed Hutcheson (Humphrey Bogart) is frustrated when he hears that notorious mob boss Tomas Rienzi (Martin Gabel) has escaped justice yet again and then attends a meeting during which it becomes clear that a dispute between the late owner's widow, Margaret Garrison (Ethel Barrymore) and her two daughters is likely to culminate in the imminent closure of the publication. After imparting this information to his fellow employees and attending a wake for the paper, he goes to see his ex-wife, Nora (Kim Hunter) who had divorced him because his commitment to his job had been so great that it had completely ruined their relationship. Nora still cares for Ed and allows him to stay at her apartment overnight but recognising that they have no future together, has recently agreed to marry her boss.Next morning, Ed is informed that the reporter he'd assigned to work on the Rienzi investigation, had been found badly beaten-up by the racketeer's thugs and this fires him up to devote all the resources he possibly can to discovering some evidence that can finally bring the full extent of Rienzi's crimes out into the open.Ed is an idealist who strongly adheres to the ethos of his newspaper by believing in the value of a free press, being totally committed to printing the truth and consistently avoiding sensationalism. This sets him apart from Ethel's two daughters who are only interested in getting richer by selling "The Day" to the publishers of its main rival who simply want to close it down to boost the circulation of their own paper.The Rienzi investigation takes an interesting turn when it emerges that a young woman whose drowned body had recently been recovered from a local river was, in fact, the gangster's mistress who had spent some of the money that he'd given her for safe-keeping and that her brother, Herman (Joe De Santis), had also been involved in facilitating her murder. When Herman agrees to tell his story for a large pay-off, it seems that a breakthrough has been reached but this proves to be a false dawn and it's only when an unexpected person steps forward with some compelling documentary evidence, that Ed feels able to go to print with the kind of story that will ensure that "The Day" goes out with a bang.The fact that this movie delivers its rather involved story in such a punchy way without ever compromising on character development is very impressive and testifies strongly to the quality of Richard Brooks' writing and direction. Powerful performances by its talented cast make all the characters seem very credible and the atmosphere of the busy newspaper office is brilliantly recreated on-screen. Humphrey Bogart's exceptional performance as the energetic, fearless and very determined editor also plays a huge part in driving the whole production forward and as well as being enjoyable to watch, is also worthy of far greater recognition than it's ever been given to date.

This is possibly and probably the best film of journalism ever made, with Humphrey Bogart at the peak of his powers waging everything as an editor to save the life of his newspaper against impossible odds, seconded by his many times divorced wife Kim Hunter, Ethel Barrymore as a moral heavyweight, and editor-assistant Ed Begley among many others. This is actually a requiem for a newspaper based on a true story but written and directed by Richard Brooks in what is probably his best film. Everything in it is perfect and especially the dialogue, which keeps you breathless throughout the film - it never slows down but is always pertinent, witty and important - not a word is wasted in this torrent of argument. Although there are thriller elements, since the main theme is battling corruption with the quest for truth as the main instrument, it's at the same time hilariously entertaining, but especially enjoyable to those who relish an intelligent argument.

The idea of being a real live reporter or for that matter, a newspaper editor never crossed the mind of Humphrey Bogart who plays Ed Hutcheson. Yet when you watch this film, he is so superb, you'd think he's done it all his life. This is the story of ' The Day ' perhaps the finest newspaper on the East coast. It's 1,500 people who daily work for it, produce top notch news stories and none more poignant than it current interest, the life of suspected criminal, Thomas Renzi. A man so powerful, he believes himself untouchable. Although a congressional investigation and a state probe could not prove anything in the way of illegal criminal dealings, few are courageous enough to challenge him. That is until, Renzi's mobsters ambush and nearly kill one George Burrows, (Warren Stevens) an investigative reporter for The Day. That's when Hutcheson and his staff, which includes, editorial Assistant Frank Allen (Ed Begley) decides to scrutinize and put Renzi's life on the front page. The gangster and the editor both have power, but which will win out makes for a tense dramatic movie. Set in the 1950's, this black and white film will inspire many a journalist to set their sights to be as great as the day. ****

Towards the end of his wonderful career, Humphrey Bogart continued making great films. Consider THE CAINE MUTINY, THE DESPERATE HOURS, African QUEEN, THE HARDER THEY FALL as well as this film--all first-rate films with an older yet still exciting Bogart at the helm. Sure, there were a few disappointments here and there (SIROCCO and BATTLE CIRCUS come to mind), but the Bogart of the 1950s was every bit as exciting to watch as he'd ever been. In fact because Bogey often played a less glamorous and less macho characters in these films, he was quite believable and showed he was a darn fine actor.Here we see Bogart as the head of a newspaper that is about to be sold by the family that owns it. It seems the sleazy and more sensationalistic rival paper wants to buy it just to shut it down. The commentary on the sensationalistic "if it bleeds, it leads" style of reporting is just as timely then as it is now. But Bogey doesn't want to give up without a fight and refuses to just finish up his tenure with a whimper--choosing instead to pull out all the stops to "get the goods" on a local mobster who, up until that point, has been untouchable.The film abounds with great performances, such as Ethel Barrymore's, Martin Gabel and Warren Stevens'--and of course Humphrey Bogart's. Additionally, the cast was blessed by having an excellent script that had a lot of depth as well as something to say. Sure, there were a few times it seemed a tad over-idealistic, but for the most part it was solid and exciting. In fact, I have no criticism of the film, as it was dandy entertainment and I sure wish they made them like this today. Give it a look--you won't be sorry.