Gentleman's Agreement (Elia Kazan, 1947)

Gentleman's Agreement (Elia Kazan, 1947) tells the story of a journalist (Gregory Peck, stiff as ever) who pretends to be Jewish in order to get the real scoop on antisemitism. As usual with Hollywood (even in well-meaning liberal mode), complex social processes are reduced to the level of individual choices such that this is a film less about antisemitism than, wait for it, the formation of the heterosexual couple. Yay! The real drama here is the inability/unwillingness of Peck's betrothed (Dorothy McGuire) to rise to the level of his activism (which, again, amounts to telling off bigots rather than confronting systemic bigotry). Once she does, the heterosexual couple can be formed and the film can end. Big box office too. For me, the best scene is also the most disappointing. Sassy but lonely fashion editor Celeste Holm (in an Oscar-winning performance) has a perfectly platonic night cap with Peck. But the scene ends with Holm confessing her love for him, i.e., more heterosexuality. Bummer. It's fascinating to consider this film alongside similar but pulpier fare like Beyond a Reasonable Doubt (Fritz Lang, 1956) and Shock Corridor (Samuel Fuller, 1963), both of which were way too "trashy" for Oscar. But they wind up telling us much more about America than Gentleman's Agreement ever could. Grade: B, B-minus if you get a drink in me.