IMDb RATING
7.3/10
2.5K
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During WW2, industrialist Joe Keller commits a crime and frames his business partner Herbert Deever but years later his sin comes back to haunt him when Joe's son plans to marry Deever's dau... Read allDuring WW2, industrialist Joe Keller commits a crime and frames his business partner Herbert Deever but years later his sin comes back to haunt him when Joe's son plans to marry Deever's daughter.During WW2, industrialist Joe Keller commits a crime and frames his business partner Herbert Deever but years later his sin comes back to haunt him when Joe's son plans to marry Deever's daughter.
- Awards
- 2 nominations
Harry Morgan
- Frank Lubey
- (as Henry Morgan)
Margaret Bert
- Townswoman
- (uncredited)
Walter Bonn
- Jorgenson
- (uncredited)
Helen Brown
- Mrs. Hamilton
- (uncredited)
Pat Flaherty
- Bartender
- (uncredited)
Jack Gargan
- Workman
- (uncredited)
Harry Harvey
- Judge
- (uncredited)
Jerry Hausner
- Halliday
- (uncredited)
Herbert Heywood
- McGraw
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe original Broadway production of "All My Sons" opened at the Coronet Theater in New York on January 29, 1947. It ran for 328 performances, and won the 1947 Best Play Tony Award for author Arthur Miller. His original script was used as the basis for this movie's screenplay.
- GoofsWhen Joe comes out of the house upon Annie's arrival, he comes down the front steps and walks into the yard with his arms raised. In the next instant, he's back at the steps and his arms are down.
- Quotes
Jim Bayliss: Put her to bed, Joe. Both of you go to bed. Staying up won't help; sleep will. Sleep's a wonderful thing, the best thing about living.
- ConnectionsFeatured in Film Preview: Episode #1.1 (1966)
Featured review
A standard 1940s group of ensemble players, coupled with the strength of an Arthur Miller project. All cast principles and minor players were at the top of their forms when they stood before the cameras. None were noted as powerful stage actors in their own right. Yet when they appeared in this film, they succeeded in doing what I think a significant stage work should do. Carry the viewer into the stage (not film) theater, and give them the unique experience of a Broadway or Off-Broadway theater seat.
The production style and direction (for reasons of cost and utility) let the words of Miller's play take center stage. In beautiful black-and-white, the Art and Set direction are spare, firm, and commanding. They command our attention. Miller is big on attention to the issues his characters are grappling with and their impact on the significant issues of our (and all) time.
As Miller repeats in Death of a Salesman, there are layers of meaning and understanding between his characters and the issues they confront internally and externally. The two business partners have had a long, intimate family relationship (like Cain and Able). So close a connection that his son could have married his partner's daughter. And she, of course, is the only one who has always known (from that son) the truth about the son's death. And the fact (s) about the father.
Miller shows us that the father's Horatio Alger lies are at the foundation of who we are individually and collectively as Americans; the lies can almost thoroughly wash out what individuals and a community should think about its leading citizens. It is an interesting plot twist that, as Miller's script points out, the low-class birth and poverty of the father embed him into the fabric of the community.
That the film faithfully carried Miller's message of contempt and loathing not only for the worship of that false god(capitalism) but also for the whole Horatio Alger hero myth (that both American liberals and conservatives embrace) is quite daring. Even for a film world that had not yet descended into the long night of the "Black List."
The production style and direction (for reasons of cost and utility) let the words of Miller's play take center stage. In beautiful black-and-white, the Art and Set direction are spare, firm, and commanding. They command our attention. Miller is big on attention to the issues his characters are grappling with and their impact on the significant issues of our (and all) time.
As Miller repeats in Death of a Salesman, there are layers of meaning and understanding between his characters and the issues they confront internally and externally. The two business partners have had a long, intimate family relationship (like Cain and Able). So close a connection that his son could have married his partner's daughter. And she, of course, is the only one who has always known (from that son) the truth about the son's death. And the fact (s) about the father.
Miller shows us that the father's Horatio Alger lies are at the foundation of who we are individually and collectively as Americans; the lies can almost thoroughly wash out what individuals and a community should think about its leading citizens. It is an interesting plot twist that, as Miller's script points out, the low-class birth and poverty of the father embed him into the fabric of the community.
That the film faithfully carried Miller's message of contempt and loathing not only for the worship of that false god(capitalism) but also for the whole Horatio Alger hero myth (that both American liberals and conservatives embrace) is quite daring. Even for a film world that had not yet descended into the long night of the "Black List."
- rcshepherd
- Jun 18, 2007
- Permalink
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Details
- Release date
- Country of origin
- Official sites
- Language
- Also known as
- Svi moji sinovi
- Filming locations
- Santa Rosa, California, USA(the Grace home on McDonald Avenue)
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 34 minutes
- Color
- Aspect ratio
- 1.37 : 1
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