A Hatful of Rain (1957)

Simply Perfect

Load of rubbish!!

The film makes a home in your brain and the only cure is to see it again.

By the time the dramatic fireworks start popping off, each one feels earned.

Arguably the best of all the 'Monkey-on-my-Back' movies of its period even if does grow grimmer and more hysterical as it goes on. Fred Zinnemann's "A Hatful of Rain" is based on a play by Michael V Gazzo, (Frankie Pentangeli in "The Godfather Part II), and it shows. The dialogue is faux poetry and far from naturalistic and you can see its three acts set out quite clearly.Don Murray is the junkie, Eva Marie Saint is his dimly uncomprehending wife, Anthony Franciosa, the brother who shares their apartment and Lloyd Nolan, the father who comes visiting. They are all superb. (Franciosa got an Oscar nomination for Best Actor and Murray shows great potential here). The only other characters of note are Murray's three pushers, two of whom, Henry Silva and a young William Hickey, are also terrific.Despite opening it up to the rain-sodden New York streets, (beautifully shot by Joe MacDonald), director Zinnemann doesn't really mess with the theatrical structure any more than he did in "The Member of the Wedding". It may not be his best film but it's certainly an essential part of his canon.

Intense and harrowing family drama typical of 50's style New York film-making. At the time, Hollywood was caught up in the double-whammy of TV competition and Cold War scare, so programming from the West Coast tended to emphasize big screen spectacle and politically safe subject matter. On the other hand, films from New York City, such as On the Waterfront and Edge of the City, emphasized small screen black & white, with urban settings and grittier subject matter. Here it's drug addiction among a white-collar family ensconced in a Manhattan apartment. Hooked because of a war wound, Johnny (Don Murray) has a loving wife Celia (Eva Marie Saint), a loyal brother Polo (Anthony Franciosa), and an arrogantly insensitive father (Lloyd Nolan). There's real tension between husband and wife because Johnny is fearful of confessing his secret addiction. As a result, Celia feels neglected by his drug-created absences, while Johnny keeps losing jobs, and Polo ends up paying for his brother's habit. When Dad comes from Florida to collect promised money from Polo that he now doesn't have, events begin spiraling out of control.Needless to say, acting here is front and center stage. The cast comes through beautifully, especially Franciosa as the intensely conflicted Polo who's attracted to his brother's wife while providing Johnny the needed support. And it doesn't help that Dad has always favored Johnny even as Polo must keep that same brother's ruinous secret. Poor Polo, the stress may appear to be on Johnny and his addiction, but it's really Polo who's emotionally torn.This is not a movie for the depressed. Nearly all the scenes take place in the couple's rather drab apartment, except for a few street shots of Johnny trapped by Manhattan's towering impersonality. This is urban despair 50's style, when drugs and addiction were considered a strictly urban problem related to unwholesome types that thrived there. The darker skinned drug-pusher Mother (Henry Silva)) conforms to a popular stereotype of the time, along with his be-bopping confederate Apple (Bill Hickey), another popular stereotype. And when Mother says it's only business after threatening Johnny, we get a different perspective on the rise of post-war commercialism. (Why the lugubrious name "Mother" for a low-life drug dealer? My guess is that it characterizes in ironic fashion the dependent relation addicts have with their supplier.)The image that stays with me is a strung-out Johnny, hunkered down in his coat, drifting alone on the streets of Manhattan. It's a grim existential moment, especially for that upbeat decade. Anyway, the movie remains a dramatic powerhouse that still packs a wallop. And even that bane of 50's films, the required happy ending, is finessed in suitably ambiguous fashion.

For all you people who liked the film A Hatful of Rain you must get a copy of the play and read that also..It is brilliant. I taught the play for many years in my 12 grade English class. After we read it I would show the film. That film still holds up in many ways. I have noticed that that film plays often on Fox Movie Channel. Chance are you can catch it there if it is still not available to rent or purchase on DVD. All the actors in the film are perfect for their parts. Anthony Franciosa, Don Murray, Eva Marie Saint and Lloyd Nolan play their parts to perfection. Lloyd Nolan is VERY GOOD. His love for one son over the other over is played to the hilt. My students were most impressed with his performance. So will you.

Ah...the wealth of info that this website provides...never knew that our old pal Michael Gazzo wrote this play/screenplay...another piece of "Godfather" trivia I can now pepper my pals with....And William Hickey's voice was a marvel of genetic engineering even back in his debut film..."Hatful" may appear somewhat dated by today's standards and the direction and performances still seem more stage than film-oriented..but love seeing the old Brooklyn waterfront and those ESSO gas signs again...and the cast puts in a fine day's work...If you liked this one...put "The Lost Weekend", "Man With The Golden Arm" and "Days of Wine and Roses" on the to-do list for comparison shopping purposes.(And for you Tony Franciosa fans out there...you can now turn your attention to line 2 of Tom Waits' "Goin' Out West").....