War hero Johnny hides his heroin addiction from his pregnant wife and estranged father, while relying on his brother Polo for financial and emotional support. Meanwhile, Johnny’s supplier — nicknamed “Mother” — demands an immediate back payment of $500, while Nolan wrongly blames Polo for “losing” the $2500 he had promised to loan him. —Filmfanatic.org
Vienna-born Fred Zinnemann had childhood dreams of becoming a musician, and later planned on a law career, before his viewing of the movies of Erich Von Stroheim drew him into the movie business, initially as a cameraman. He came to the United States in 1929, and later found work as an editor, and subsequently as an assistant to documentary filmmaker Robert Flaherty, and then as an assistant to choreographer Busby Berkeley. He joined MGM in the late ‘30s as a director of comedy shorts, and won an Academy award for his 1938 short subject That Mothers Might Live. Zinnemann moved up to full-length features in 1941, but found little opportunity to work on anything but B-pictures until 1948, with The Search, a drama set in post-World War II Europe. He didn’t really become a major recognized box-office name as a director, however, until 1952 when his Western drama High Noon, starring Gary Cooper, which had been perceived by most observers as headed for commercial disaster, became a monster… read more
I'm fond of the 1952-1960 period in American cinema when directors started to adapt the works of a new generation of writers describing the malaise of a society sick of its own lushness. Most of these films can be described as psychologically heavy according to our actual pretty low standards, I think here about the Tennesse Williams adaptations but, all in all, they can still provide a lot of fun to the curious movie lover sleeping inside you. Here's a film about drug addiction, a theme not so often handled in the mainstream Hollywood production of that period. Thanks to the performance of the cast - Bravo Eva Marie Saint, Henry Silva and Anthony Franciosa! - A Hatful of Rain doesnt' dishonor Fred Zinnemann's filmography. Highly recommended.