March 20,
1953, release date
Directed
by Maxwell Shane
Screenplay
by Maxwell Shane, Ivan Tors
Music by
Leith Stevens
Edited by
Stanley Frazen, Herbert L. Strock
Cinematography
by Joseph F. Biroc
Gloria Grahame as Maggie Summers
Ann Robinson as Nancy
Jerry Paris as Tom
Douglas Spencer as Inspector Bailey
Robin Raymond as Tanya/Bella Zakoyla
Elizabeth Slifer as Mrs. Hinckley
Richard Reeves as Eddie Hinckley
Joe Turkel as Freddie Zakoyla (as
Joseph Turkel)
Else Neft as Mrs. Zakoyla
Ned Booth as Monroe, the cab driver
Michael Fox as Inspector Toomey and
the film’s narrator
Kathleen Freeman as Zelda
Musician Jack Teagarden as himself
Musician Shorty Rogers as himself
Distributed
by Columbia Pictures
Produced
by Columbia Pictures
Every
once in a while, I see a film noir released decades ago whose theme seems oddly
contemporary, and The Glass Wall is
one of those films. It is the story of a refugee, a displaced person, from
war-torn Europe who seeks asylum in the United States and is denied entrance
because of a technicality. The details of The
Glass Wall could be updated from March 20, 1953 (the film’s release date
almost exactly sixty-five years ago), to current events of today (think the
immigration debate in general and the Dreamers’ dilemma in particular) and the
story would resonate with today’s viewers.
Click
here for more information about displaced persons (DPs). Click here for more
information about the U.S. executive branch policy called Deferred Action for
Childhood Arrivals (DACA).
The
opening credits start over an expanse of sea. The screen is split by the
horizon line between the sky and the sea. As the credits progress, the film
cuts to a ship in the distance and then to subsequent shots of the ship coming
closer and closer to viewers. A voice-over narrator starts a description of the
ship arriving in New York Harbor: 1,322 displaced persons were rescued by the
International Refugee Organization of the United Nations. They had escaped the war
(World War II) and concentration camps.
One of
those displaced persons is Peter Kuban. He is denied entrance to the United
States because he stowed away on the ship, an illegal act that disqualifies him
from entry to the United States. He protests the decision of the immigration
officers on board the ship, telling them about his wartime experiences of
torture in concentration camps. Peter Kuban is no slouch. He invokes Statute 6,
the Displaced Persons Law:
A person
bearing arms for the Allied cause in World War II has the privilege to come
into America without a quota number, before others.
Peter had
escaped Auschwitz and found an American parachute soldier during the war. He
saved the American from pursuing Nazis and took the soldier to an Allied hospital
so that he could recover from his injuries. All Peter knows now is that the
soldier’s name is Tom; he is a musician who plays the clarinet; and he works in
New York City, in Times Square. Tom is the person who can prove Peter’s story
and vouch for him.
(This
blog post about The Glass Wall
contains spoilers.)
Rather
than face being sent back to Hungary, his home country, Peter jumps ship. He is
injured in his fall to the dock, but he makes it to Times Square. Immigration
sends out officers looking for Peter in Times Square, in case his story is on
the up and up. From this point onward, viewers follow Peter as he struggles to
find Tom and to evade the authorities.
I had
seen bits and pieces of The Glass Wall
on television and I have to confess that I wasn’t very impressed at first,
maybe because I usually caught the last scenes and thought the film seemed
awfully melodramatic. But judging a film after seeing a few scenes here and
there is not very credible or accurate, so I decided to see the entire film.
Besides, Gloria Grahame costars, and Jerry Paris (of The Dick Van Dyke Show fame) does, too. Jerry Paris in a film noir?
Gloria
Grahame plays Maggie, who helps Peter. They meet when he observes Maggie taking
a table that someone just vacated in a coffee shop and eating the leftover food
on the table. Then he watches her steal someone’s coat. Maggie runs out of the
coffee shop, and Peter follows her and helps her escape. Jerry Paris plays Tom,
the musician Peter helped during the war. Tom is a man with a conscience who
feels that he must help Peter once he reads about his plight on the front page
of a New York City newspaper. Grahame was great, as I expected; Paris was
better than I expected in a noncomedic role, although I didn’t believe for a
minute that he actually played that clarinet!
Near the
end of the film, Peter decides to seek asylum at the United Nations. (The title
of the film refers to the glass façade of the UN headquarters in New York
City.) By this point, he has become thoroughly desperate (this is probably the
point in the story where I started watching the film on television). Peter
delivers an impassioned plea to an empty room at the United Nations, which is
apparently not in session on the day that Peter enters the building:
Somebody.
Somebody listen. You . . . you come here to bring peace to the world. But what
is the world? As long as there is one man who can’t walk free where he wants,
as long as there is one displaced person without home, there won’t be peace!
Because to each man, he’s the world! . . .
Nobody listens!
After
watching The Glass Wall from
beginning to end, Peter’s plea and his desperation are perfectly
understandable. In context, his actions and his words are moving, not
melodramatic. His words could apply to people struggling—after World War II, in
2018, or at any point in history—to make their way to a safe place in the
world.
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