#THE CLOCK MOVIE MOVIE#
For a movie in which the bustle of everyday Manhattan threatens to pull the lovers apart, the structure is remarkably tidy: as in Meet Me in St. Although The Clock originated with Fred Zinnemann, whom Garland ultimately deemed inadequate to the high-stakes task of drawing out her first non-singing performance, its resonance with that 1944 musical masterpiece is unmistakable. Louis, their first collaboration, and shortly before they got married. Minnelli and Garland took on The Clock right after the success of Meet Me in St. From this opening, we come to understand the movie as a kind of emotional cartography, one that will chart Joe and Alice’s movements from point A to point B and beyond, from the train station all the way to city hall. Minnelli orchestrates the remainder of this first encounter in one unbroken take at the top of an escalator, resulting in a funny bit in which Joe tries to go against the flow of the ascending masses to retrieve the missing heel. Once they’ve met-cute, the film’s internal clock starts relentlessly ticking we can almost sense the angels of cinema swooping down to nudge the protagonists toward their inevitable destination. She (Judy Garland) is a reasonably skeptical urban professional named Alice who trips over his outstretched legs and loses the heel of her shoe in the process. He (Robert Walker) is a wholesome GI named Joe, deposited into Penn Station with forty-eight hours to kill before heading overseas. Vincente Minnelli’s 1945 melodrama The Clock slots comfortably into this tradition, presenting its central couple as a pair of all-American anybodies.
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