The Man in the Gray Flannel Suit


2h 33m 1956
The Man in the Gray Flannel Suit

Brief Synopsis

A public relations man must cope with revelations about a wartime romance.

Film Details

Genre
Drama
Adaptation
Classic Hollywood
Release Date
Apr 1956
Premiere Information
New York and Los Angeles premieres: 12 Apr 1956
Production Company
Twentieth Century-Fox Film Corp.
Distribution Company
Twentieth Century-Fox Film Corp.
Country
United States
Location
New York City, New York, United States; Westport, Connecticut, United States
Screenplay Information
Based on the novel The Man in the Gray Flannel Suit by Sloan Wilson (New York, 1955).

Technical Specs

Duration
2h 33m
Sound
Stereo (Westrex Recording System)
Color
Color (DeLuxe)
Theatrical Aspect Ratio
2.35 : 1
Film Length
13,728ft

Synopsis

Finding it difficult to support his family on his $7,000 yearly salary, Tom Rath hopes that his late grandmother's estate will yield a financial bonanza. When Tom learns that his grandmother's funds have been depleted and consequently, his entire inheritance consists only of her white-elephant house, Tom's ambitious wife Betsy presses him to seek a higher paying job. Betsy accuses her husband of "losing his guts" since his return ten years earlier from military service during World War II. On the commuter train to work the next morning, Tom questions his friend, Bill Hawthorne, about a public relations job at the UBC television network. A man wearing a plush overcoat then triggers Tom's war memories: Tom, a captain in the U.S. Army assigned to Italy, is driven by the brutal cold of winter to murder a young German soldier for his overcoat. Upon completing his duty in Rome, Tom learns that his company is being sent to the Pacific. Filled with forebodings of death, Tom slips into a deep depression. Hoping to relieve Tom's apprehensions, Caesar Gardella, a fellow soldier, introduces him to Maria, a self-effacing young Italian girl. One night with Maria stretches into six weeks, and on the day before Tom is to leave for battle, he promises Maria that he will never forget her, even though he is married. Maria replies that she is pregnant with his baby, a child she has prayed for. Tom's thoughts return to the present, and soon after, he is summoned to a job interview at UBC. There, Tom is sequestered in a room and given one hour to write his autobiography, which must conclude with the sentence "the most significant thing about me." As Tom ruminates about his final sentence, his thoughts return to the war: While leading his troops into battle, Tom watches in horror as a grenade he lobbed blows up his best friend Hank. Tom's remembrance renders his essay trivial, and he refuses to divulge any information about himself. Upon returning home that night, Tom tells Betsy about his job interview, and she begins to dream about a new home and extended vacation. Soon after, Tom is offered a job at UBC, helping to launch a mental health campaign, the current obsession of network president Ralph Hopkins. After meeting with Tom, Hopkins proceeds to his estranged wife's home to discuss their wayward eighteen-year-old daughter Susan, who has been frequenting nightclubs with an elderly fortune hunter and a married writer. Confronting her husband, who has been an absent father, Helen begs him to intervene in their daughter's life. At the network, Tom is assigned to work under Bill Ogden, a ruthless office politician. When Tom returns from work that evening, Betsy announces that she has sold their modest home, thus forcing them to move to Tom's grandmother's stately mansion. As they prepare to move, Tom is informed by Edward Schultz, his grandmother's curmudgeonly servant, that the old woman had promised him the house. After threatening a lawsuit, Edward storms out, and Tom phones Judge Bernstein, the executor of his grandmother's estate, about mediating the situation. Later, Susan, summoned by her father, visits Hopkins at his apartment and accuses him of letting money ruin their lives. When Hopkins solicitously asks Susan to move in with him and offers to arrange a job for her, she angrily lashes out that he is incapable of loving anyone. The next day at the office, Ogden derides Tom's efforts and dismisses him from the campaign. When Tom shows Betsy Ogden's version of the speech, Betsy deems it silly and boring and dares her husband to stand by his convictions, but Tom responds that office politics necessitate telling your superiors what they want to hear. The next day, Tom and Edward meet at Bernstein's office, where the judge scrutinizes a letter purportedly written by Tom's grandmother, bequeathing Edward her house. When the judge questions Edward's integrity and accuses him of padding household bills and possibly forging the letter, Edward indignantly stalks out. Later, Tom meets Hopkins at his apartment to discuss his speech. At first Tom spinelessly agrees with his employer's opinions, but after Hopkins is called away by a phone call notifying him of Susan's elopement, Tom works up the courage to critique the speech as phony. Hopkins, shaken by the news of his daughter's rebellious marriage, confides to Tom that he reminds him of his beloved son Bobby, who died as a private in the war after refusing an officer's commission. Now regretting that he devoted his life, body and soul, to business, Hopkins urges Tom not to let anything keep him from his family. In the office elevator the next morning, Tom is approached by Caesar, now an elevator operator, to meet him after work. Over drinks, Caesar tells Tom that he is married to Maria's cousin and that Maria and her son are in desperate need of money. Taken aback, Tom's first impulse is to conceal the boy's existence from Betsy. At home that night, after telling Betsy that he criticized Ogden's speech, Tom reveals that he has an illegitimate son in Rome. Although Tom speaks about the atrocities and hopelessness of war that drove him into Maria's arms, Betsy only feels the pain of his betrayal and angrily speeds away in the family's car. The next morning, the police notify Tom that they found Betsy parked along a roadside, where her car ran out of gas. As Tom prepares to pick up Betsy, Hopkins phones to ask him to accompany him to California in Ogden's stead. When Tom declines the offer, stating that he is just a "9 to 5" fellow who prefers to stay with his family, Hopkins understands and asks to see Tom's version of the speech. After hanging up the phone, Hopkins stares out into space, totally alone. Afterward, Tom and Betsy visit the judge, and Tom explains that he wants to send his illegitimate son in Italy $100 a month. When Betsy adds that they eventually intend to establish a trust fund for the boy, Bernstein, moved, offers his services gratis. Tom and Betsy then share a loving embrace.

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Movie Clip

Hosted Intro

Film Details

Genre
Drama
Adaptation
Classic Hollywood
Release Date
Apr 1956
Premiere Information
New York and Los Angeles premieres: 12 Apr 1956
Production Company
Twentieth Century-Fox Film Corp.
Distribution Company
Twentieth Century-Fox Film Corp.
Country
United States
Location
New York City, New York, United States; Westport, Connecticut, United States
Screenplay Information
Based on the novel The Man in the Gray Flannel Suit by Sloan Wilson (New York, 1955).

Technical Specs

Duration
2h 33m
Sound
Stereo (Westrex Recording System)
Color
Color (DeLuxe)
Theatrical Aspect Ratio
2.35 : 1
Film Length
13,728ft

Articles

The Man in the Gray Flannel Suit


Nunnally Johnson’s The Man in the Gray Flannel Suit (1956) is adapted from the 1955 novel of the same name by Sloan Wilson. One of the great publishing successes of its day, the book--or it least its title--became a symbol for conformism in the business world. In that respect, it connected with a number of non-fiction books published around the same time, including: The Lonely Crowd (1950), Is Anybody Listening? (1952) and The Organization Man (1956). On-going interest in the novel spurred a 2002 reprint with a new foreword by the National Book Award-winning novelist Jonathan Franzen. Today, its influence appears in the popular television series Mad Men.

While The Man in the Gray Flannel Suit is often thought to represent the “typical” experience of a corporate man in the Fifties, it is very much drawn from Wilson’s own life story. After returning from the war, he struggled to get his career off the ground while raising a family. His mother, who wrote for The New Yorker, had long encouraged him to seek work there as well. While he did publish a few stories there, he ended up instead as a writer for the house organ of Time, Inc. Roy Larsen, the company’s President, invited Wilson to work for the nonprofit National Citizen’s Commission for the Public Schools, also known as Better Schools, Inc. Much of Wilson’s work there consisted of writing speeches, not unlike Tom Rath in the novel. Larsen recommended Wilson to Richard Simon of Simon and Schuster, who offered Sloan Wilson an advance to write a novel. While his first book, Voyage to Somewhere (1947), was not a great success, Simon’s faith paid off with the immense popularity of The Man in the Gray Flannel Suit and his next book after that, A Summer Place (1958). Wilson himself followed up the novel with a sequel entitled The Man in the Gray Flannel Suit II (1984).

The film’s director, Nunnally Johnson, was a much-respected scriptwriter who had worked on films such as The Grapes of Wrath (1940) and The Dark Mirror (1946). His own directing career started in the mid-fifties with the widescreen Gregory Peck vehicle Night People (1954). Although never regarded as a distinctive stylist, he does use the widescreen format effectively in The Man in the Gray Flannel Suit, especially in the scene Jennifer Jones has a breakdown and Peck runs after her in the night. To add to the sense of visual authenticity, parts of the film were shot in New York City and in Westport, Connecticut. To be sure, when Sloan Wilson saw the finished film he balked at the impossibly spacious $14,000 Rath family house, but for the most part he liked Nunnally Johnson’s more or less faithful script.

In preparation for his role, Peck visited advertising agencies and the NBC headquarters in New York and rode on a commuter train. He also read the novel carefully and kept detailed notes about it as he worked on the film. Jennifer Jones had played opposite him previously in King Vidor’s delirious Technicolor Western Duel in the Sun (1946). During the aforementioned breakdown scene Jones threw herself into her role so thoroughly that she clawed Peck’s face with her fingernails. Peck reportedly complained to Nunnally Johnson, “I don’t call that acting, I call it personal.”

While the film was fairly successful on its initial release, The Man in the Gray Flannel Suit received somewhat mixed reviews. The reviewer for Variety especially liked the flashback sequences and the performances of Gregory Peck and Fredric March. At the same time, he noted that despite the film’s “abundance of elegant sets and a solid array of marquee names […] all that is missing is the spirit of the author.” On the other hand, Bosley Crowther of the New York Times dubbed it “a mature, fascinating and often quite tender and touching film.” He considered the film an improvement over the novel in that it presented the characters’ problems in a more “clear and forceful way.”

Producer: Darryl F. Zanuck
Director and Screenwriter: Nunnally Johnson
Based on the novel by Sloan Wilson Director of Photography: Charles G. Clarke
Art Director: Lyle R. Wheeler and Jack Martin Smith
Film Editor: Dorothy Spencer
Music: Bernard Herrmann
Principal Cast: Gregory Peck (Tom Rath); Jennifer Jones (Betsy Rath); Fredric March (Ralph Hopkins); Marisa Pavan (Maria); Lee J. Cobb (Judge Bernstein); Ann Harding (Mrs. Helen Hopkins); Keenan Wynn (Caesar Gardella); Gene Lockhart (Bill Hawthorne); Gigi Perreau (Susan Hopkins); Portland Mason (Janie Rath); Arthur O'Connell (Walker); Henry Daniell (Bill Ogden).
C-153m. Letterboxed. Closed Captioning. Descriptive Video.

by James Steffen

Sources:
Crowther, Bosley. Review of "The Man in the Gray Flannel Suit" New York Times, April 13, 1956.

Review of "The Man in the Gray Flannel Suit," Variety, April 4, 1956.

Brier, Evan. A Novel Marketplace: Mass Culture, the Book Trade, and Postwar American Fiction. Philadelphia: University of Pennsylvania Press, 2010.

Fishgall, Gary. Gregory Peck: A Biography. New York: Scribner, 2002.

Wilson, Sloan. What Shall We Wear to this Party? The Man in the Gray Flannel Suit Twenty Years Before & After. New York: Arbor House, 1973.

The Man In The Gray Flannel Suit

The Man in the Gray Flannel Suit

Nunnally Johnson’s The Man in the Gray Flannel Suit (1956) is adapted from the 1955 novel of the same name by Sloan Wilson. One of the great publishing successes of its day, the book--or it least its title--became a symbol for conformism in the business world. In that respect, it connected with a number of non-fiction books published around the same time, including: The Lonely Crowd (1950), Is Anybody Listening? (1952) and The Organization Man (1956). On-going interest in the novel spurred a 2002 reprint with a new foreword by the National Book Award-winning novelist Jonathan Franzen. Today, its influence appears in the popular television series Mad Men. While The Man in the Gray Flannel Suit is often thought to represent the “typical” experience of a corporate man in the Fifties, it is very much drawn from Wilson’s own life story. After returning from the war, he struggled to get his career off the ground while raising a family. His mother, who wrote for The New Yorker, had long encouraged him to seek work there as well. While he did publish a few stories there, he ended up instead as a writer for the house organ of Time, Inc. Roy Larsen, the company’s President, invited Wilson to work for the nonprofit National Citizen’s Commission for the Public Schools, also known as Better Schools, Inc. Much of Wilson’s work there consisted of writing speeches, not unlike Tom Rath in the novel. Larsen recommended Wilson to Richard Simon of Simon and Schuster, who offered Sloan Wilson an advance to write a novel. While his first book, Voyage to Somewhere (1947), was not a great success, Simon’s faith paid off with the immense popularity of The Man in the Gray Flannel Suit and his next book after that, A Summer Place (1958). Wilson himself followed up the novel with a sequel entitled The Man in the Gray Flannel Suit II (1984). The film’s director, Nunnally Johnson, was a much-respected scriptwriter who had worked on films such as The Grapes of Wrath (1940) and The Dark Mirror (1946). His own directing career started in the mid-fifties with the widescreen Gregory Peck vehicle Night People (1954). Although never regarded as a distinctive stylist, he does use the widescreen format effectively in The Man in the Gray Flannel Suit, especially in the scene Jennifer Jones has a breakdown and Peck runs after her in the night. To add to the sense of visual authenticity, parts of the film were shot in New York City and in Westport, Connecticut. To be sure, when Sloan Wilson saw the finished film he balked at the impossibly spacious $14,000 Rath family house, but for the most part he liked Nunnally Johnson’s more or less faithful script. In preparation for his role, Peck visited advertising agencies and the NBC headquarters in New York and rode on a commuter train. He also read the novel carefully and kept detailed notes about it as he worked on the film. Jennifer Jones had played opposite him previously in King Vidor’s delirious Technicolor Western Duel in the Sun (1946). During the aforementioned breakdown scene Jones threw herself into her role so thoroughly that she clawed Peck’s face with her fingernails. Peck reportedly complained to Nunnally Johnson, “I don’t call that acting, I call it personal.” While the film was fairly successful on its initial release, The Man in the Gray Flannel Suit received somewhat mixed reviews. The reviewer for Variety especially liked the flashback sequences and the performances of Gregory Peck and Fredric March. At the same time, he noted that despite the film’s “abundance of elegant sets and a solid array of marquee names […] all that is missing is the spirit of the author.” On the other hand, Bosley Crowther of the New York Times dubbed it “a mature, fascinating and often quite tender and touching film.” He considered the film an improvement over the novel in that it presented the characters’ problems in a more “clear and forceful way.” Producer: Darryl F. Zanuck Director and Screenwriter: Nunnally Johnson Based on the novel by Sloan Wilson Director of Photography: Charles G. Clarke Art Director: Lyle R. Wheeler and Jack Martin Smith Film Editor: Dorothy Spencer Music: Bernard Herrmann Principal Cast: Gregory Peck (Tom Rath); Jennifer Jones (Betsy Rath); Fredric March (Ralph Hopkins); Marisa Pavan (Maria); Lee J. Cobb (Judge Bernstein); Ann Harding (Mrs. Helen Hopkins); Keenan Wynn (Caesar Gardella); Gene Lockhart (Bill Hawthorne); Gigi Perreau (Susan Hopkins); Portland Mason (Janie Rath); Arthur O'Connell (Walker); Henry Daniell (Bill Ogden). C-153m. Letterboxed. Closed Captioning. Descriptive Video. by James Steffen Sources: Crowther, Bosley. Review of "The Man in the Gray Flannel Suit" New York Times, April 13, 1956. Review of "The Man in the Gray Flannel Suit," Variety, April 4, 1956. Brier, Evan. A Novel Marketplace: Mass Culture, the Book Trade, and Postwar American Fiction. Philadelphia: University of Pennsylvania Press, 2010. Fishgall, Gary. Gregory Peck: A Biography. New York: Scribner, 2002. Wilson, Sloan. What Shall We Wear to this Party? The Man in the Gray Flannel Suit Twenty Years Before & After. New York: Arbor House, 1973.

Kenneth Tobey (1917-2003)


Kenneth Tobey, the sandy-haired, tough-looking American character actor who appeared in over 100 films, but is best remembered as Captain Patrick Hendry in the Sci-Fi classic, The Thing From Another World (1951), died on December 22nd of natural causes at a hospital in Rancho Mirage, California. He was 86.

Born in Oakland, California on March 23, 1917, Tobey originally intended to be a lawyer before a stint with the University of California Little Theater changed his mind. From there, he went straight to New York and spent nearly two years studying acting at the Neighborhood Playhouse, where his classmates included Gregory Peck, Eli Wallach and Tony Randall. Throughout the '40s, Tobey acted on Broadway and in stock before relocating to Hollywood. Once there, Tobey soon found himself playing a tough soldier in films like I Was a Male War Bride and Twelve O' Clock High (both 1949); or a tough police officer in Kiss Tomorrow Goodbye and Three Secrets (both 1950). Such roles were hardly surprising, given Tobey's craggy features, unsmiling countenance and rough voice.

Needless to say, no-nonsense, authority figures would be Tobey's calling for the remainder of his career; yet given the right role, he had the talent to make it memorable: the smart, likeable Captain Hendrey in The Thing From Another World (1951); the gallant Colonel Jack Evans in the "prehistoric dinosaur attacks an urban center" genre chiller The Beast from 20,000 Fathoms (1953, a must-see film for fans of special effects wizard, Ray Harryhausen; and as Bat Masterson, holding his own against Kirk Douglas and Burt Lancaster in Gunfight at the O.K. Corral (1957).

Television would also offer Tobey much work: he had his own action series as chopper pilot Chuck Martin in Whirlybirds (1957-59); and had a recurring role as Assistant District Attorney Alvin in Perry Mason (1957-66). He would also be kept busy with guest appearances in countless westerns (Gunsmoke, Bonanza, The Virginian) and cop shows (The Rockford Files, Barnaby Jones, Ironside) for the next two decades. Most amusingly, the tail end of Tobey's career saw some self-deprecating cameo spots in such contemporary shockers as The Howling (1981); Strange Invaders (1983) and his role reprisal of Captain Hendry in The Attack of the B-Movie Monsters (2002). Tobey is survived by a daughter, two stepchildren, and two grandchildren.

by Michael T. Toole

Kenneth Tobey (1917-2003)

Kenneth Tobey, the sandy-haired, tough-looking American character actor who appeared in over 100 films, but is best remembered as Captain Patrick Hendry in the Sci-Fi classic, The Thing From Another World (1951), died on December 22nd of natural causes at a hospital in Rancho Mirage, California. He was 86. Born in Oakland, California on March 23, 1917, Tobey originally intended to be a lawyer before a stint with the University of California Little Theater changed his mind. From there, he went straight to New York and spent nearly two years studying acting at the Neighborhood Playhouse, where his classmates included Gregory Peck, Eli Wallach and Tony Randall. Throughout the '40s, Tobey acted on Broadway and in stock before relocating to Hollywood. Once there, Tobey soon found himself playing a tough soldier in films like I Was a Male War Bride and Twelve O' Clock High (both 1949); or a tough police officer in Kiss Tomorrow Goodbye and Three Secrets (both 1950). Such roles were hardly surprising, given Tobey's craggy features, unsmiling countenance and rough voice. Needless to say, no-nonsense, authority figures would be Tobey's calling for the remainder of his career; yet given the right role, he had the talent to make it memorable: the smart, likeable Captain Hendrey in The Thing From Another World (1951); the gallant Colonel Jack Evans in the "prehistoric dinosaur attacks an urban center" genre chiller The Beast from 20,000 Fathoms (1953, a must-see film for fans of special effects wizard, Ray Harryhausen; and as Bat Masterson, holding his own against Kirk Douglas and Burt Lancaster in Gunfight at the O.K. Corral (1957). Television would also offer Tobey much work: he had his own action series as chopper pilot Chuck Martin in Whirlybirds (1957-59); and had a recurring role as Assistant District Attorney Alvin in Perry Mason (1957-66). He would also be kept busy with guest appearances in countless westerns (Gunsmoke, Bonanza, The Virginian) and cop shows (The Rockford Files, Barnaby Jones, Ironside) for the next two decades. Most amusingly, the tail end of Tobey's career saw some self-deprecating cameo spots in such contemporary shockers as The Howling (1981); Strange Invaders (1983) and his role reprisal of Captain Hendry in The Attack of the B-Movie Monsters (2002). Tobey is survived by a daughter, two stepchildren, and two grandchildren. by Michael T. Toole

Quotes

Trivia

Notes

Sloan Wilson's story was serialized in Colliers from 8 July-August 3, 1955. In Wilson's novel, "Maria" lives in near poverty with her husband and son in Italy. In the film, Maria is a widow. According to materials contained in the Twentieth Century-Fox Records of the Legal Department at the UCLA Arts-Special Collections Library, Syl Lamont was to play "Caesar Gardella" and Larry Keating was to appear as "Richard Haves," "Tom Rath's" boss. Neither Keating nor the character of Haves appears in the released film, however. Although a December 1955 Hollywood Reporter chart places Fredric March's wife, Florence Eldridge, in the cast, she is not in the released film. According to a December 1, 1955 Hollywood Reporter news item, Jennifer Jones initially complained that her role of "Betsy" was too small. Memos reprinted in a modern source show that Jones suggested changes in the depiction of Betsy that were later incorporated into the script.
       According to Fox publicity items contained in the film's production files at the AMPAS Library, location filming was done in New York and Westport, CT. The 40th Infantry Division of the California National Guard and the Dept. of the Army supplied technical assistance in staging the battle scenes. Jones and Gregory Peck had previously starred together in the 1946 film Duel in the Sun (see AFI Catalog of Feature Films, 1941-50). Portland Mason (1948-2004), who played "Janie Rath," was the daughter of actors James Mason and Pamela Kellino. The Man in the Gray Flannel Suit marked her motion picture debut.

Miscellaneous Notes

Released in United States Spring March 1956

Released in United States on Video July 26, 1990

CinemaScope

Released in United States Spring March 1956

Released in United States on Video July 26, 1990