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  • I'm used to the cast in much lighter fare. Ronald Reagan was impressive enough as the crusading D.A., Ginger Rogers was incredibly convincing in every single scene, and light and lively Doris Day did not sing a note. While her character could seem a bit dimwitted at times, her portrayal was on the mark and very believable, given the attitudes and beliefs of the small town in which she resided. Steve Cochran was also good, as her husband, and the bedroom scene wherein he tries to seduce sister-in-law Rogers is very suggestive for its time, though seemingly heavily edited. Nobody could play a thick headed womanizing weasel like Cochran could.

    Ginger Rogers witnesses a lynching by the Klan. When two of the men remove their hoods, she recognizes one of them as her brother-in-law, husband to her pregnant sister, played by Doris Day. Reagan is the honest DA intent on getting to the bottom of the lynching - the guy who was lynched was a reporter doing investigative journalism, jailed on a trumped up DUI. The heads of the local Klan are worried about all of this, not because of their nocturnal activities, but because they have been using the Klansmen and bilking them of their money for dues, insignia, etc. Grifters using the naivete and prejudices of a mob of rubes to enrich themselves? Suddenly this film is getting quite timely.

    The film as a whole has a very dark element throughout, fittingly, but surprising for its time. Bringing the Ku Klux Klan to the forefront of American cinema in pre-civil rights days, handled as well as it is here, makes for a very interesting, gripping and entertaining film.

    So many actors of Hollywood's Golden Age were typecast in familiar roles, but seeing these stars sink their teeth into a well-written screenplay and a deftly directed movie is a real treat.
  • This punchy, noirish thriller, superbly shot by Carl Gutherie, has all but disappeared despite its Grade-A cast that includes Ginger Rogers and Doris Day, both cast very much against type, as sisters in a small town where the Klu Klux Klan have the upper hand. Rogers is the sister who witnesses a Klan killing only to discover sister Doris is married to the killer, Steve Cochran. Ronald Regan is the investigating District Attorney. It's a simplistic little story, closer in tone to the social-conscience movies Warners turned out in the thirties than to the studio pictures of the period with a fine Richard Brooks/Daniel Fuchs screenplay and both Day and Rogers are surprisingly good with nary a song between them. It might have a B-Movie sensibility and it may bang its drum a little too loudly but at least it's honest and well-intentioned, if unusually violent for the time, and is well worth seeing.
  • duke102919 February 2007
    A Warner Brothers movie exposing the Ku Klux Klan in 1951 sounds very compelling, but despite its laudable intent, "Storm Warning" pulls all its punches, fudges issues it should have confronted, and ultimately lacks the courage of its own convictions.

    In "Storm Warning" the Klan is variously referred to as a "mob," "hoodlums in sheets," and a "gang," According to D.A. Ronald Reagan, it is a "private money-making racket" controlled by a few for personal profit. These are terms normally associated with a criminal conspiracy such as the Mafia. No mention is made of the Klan's racism, anti-Semitism, or anti-Catholic biases.

    The only prejudices specifically expressed by Klan members are directed against such vague generic groups as "busybodies," "troublemakers," and "outsiders." With the exception of a scattered sparse handful of anonymous black extras, (who may not even be Rock Point residents), among the many hundreds outside the courthouse, this would seem to be a town without minorities.

    The town's location is also fudged. Although non-Klan members are resentful of Washington, New York, and those from "Up North," no one in town speaks with any type of regional Southern accent or utilizes any Southern colloquialisms. There are no cultural references to Southern life or history. People in Rock Point eat hamburgers, not grits. It looks like California orange country, and it indeed was filmed in Corona, California.

    Even though the film's trailer mentions the KKK, the actual words "Ku Klux Klan" are not used in the film. What emerges is a softened, quasi-generic illegal organization known simply as "The Klan." Warner Brothers was on the cutting edge of socially conscious films in the 1930's, but by the late 40's and early 50's, were behind the curve on tackling anti-Semitism and race hatred. Clearly the studio had second thoughts about offending their Southern consumer base and blunted the edge of what could have been a courageous statement on race relations in America.

    Another downside is the writers' obvious cribbing from "Streetcar Named Desire." Not only are character dynamics of this film's domestic triangle lifted from the Williams classic, but even minor details are shamelessly copied. Steve Cochrane's Stanley-like character, referred to as "stupid" and an "ape," introduces himself to his sister-in-law in a stained T-shirt, wonders who has been stealing his liquor, cries like an immature child, excels at bowling, enjoys a strong sexual chemistry with his pregnant wife, causes his sister-in-law to primp up in anticipation of meeting him, and later attempts to rape her in the climactic scene.

    One wonders why Warners was not sued for plagiarism, but as the studio had released "The Glass Menagerie" in 1950 and "Streetcar" in 1951, it's probable that Williams gave at least tacit permission for the use of his intellectual property.

    Despite these complaints, there are some very good things in "Storm Warning." Journeyman director Stuart Heisler easily does the best work in his career. He invests "Storm Warning" with a strong Noir sensibility and utilizes his chiaroscuro lighting to great advantage on the rain-soaked streets of Rock Point to create some strikingly unusual imagery. The scene of Ginger Rogers vomiting behind a telephone poll after witnessing the murder is startling effective for a film of this period.

    Heisler also utilizes the big crowds very skillfully in spite having to use many non-professionals as extras. This is especially true in the critical street scene outside the courthouse and his well-framed compositions during the climactic Klan rally.

    His direction of Steve Cochrane as the none-too-bright Hank Rice character is commendable. Cochrane's "business" of tugging his floppy white socks up his exposed legs while sitting on a grain bag in ill-fitting pants, dutifully awaiting audience with his Klan superiors is perfect iconography for his infantile, shallow persona. In fact, the entire cast is well-handled by the director, and ubiquitous character actor Hugh Sanders has the best role of his prolific career as the Klan leader.

    "Storm Warning" turned out to be the last real quality role of Reagan's career before his slow decline as star with films like "Bedtime for Bonzo" and TV work like "Death Valley Days." The Gipper acquits himself very well in the only political-themed film of his career as the principled, crusading District Attorney and foreshadows his future role in national politics.

    Although "Warning" can still hold its own as period melodrama, it missed the streetcar in making a serious, socially conscious comment on racism in American society.
  • There's an almost Tennessee Williams quality to the storyline. A woman (Ginger Rogers) travels south to visit her sister (Doris Day) but enroute witnesses a murder by the KKK. Arriving at the sister's house, she discovers her married to one of the Klansmen (Steve Cochran), her crude brother-in-law. Tension builds when Rogers reports the incident to the young DA (Ronald Reagan)and the film builds to an interesting climax. Somewhat like watching Blanche du Bois visit her sister in a southern town and finding herself threatened by her earthy brother-in-law in 'Streetcar Named Desire'. All of the leads are excellent--Ginger Rogers, Doris Day, Ronald Reagan and Steve Cochran in this unusually strong melodrama, gritty and realistic with surprisingly good work from Doris Day who had only been in films a short time. Definitely a film that deserves more recognition and relatively unknown by today's film fans.
  • Warner Brothers got back to its muckraking roots in this somber drama about an "outsider" who witnesses a Klan murder in a small town and is persuaded to keep quiet about it because her sister's scummy husband is involved in it. One of the aspects of this film that I appreciated was that the Klansmen aren't pawned off as buffoonish, mouth-breathing cretins as they often are in films like this (although Steve Cochran as Doris Day's white-trash husband comes close), which tends to trivialize them and make them seem a bit less dangerous than they really are. The film shows the people who run the Klan to be fairly prominent local citizens--which is, unfortunately, often the case in real life with organizations like the Klan--which actually makes them far more dangerous than if they were just a semi-literate bunch of backwoods hillbillies. Doris Day gives a bravura performance in her first dramatic role; she tends to just skirt the edge of "going over the top" on a few occasions, but director Stuart Heisler skillfully brings her, and the rest of the picture, under control, and it does have the gritty, noir-ish look reminiscent of the great Warners films of the '30s and '40s. Ginger Rogers is very good as Day's visiting sister who realizes the type of dilemma her sibling is caught in, and Ronald Reagan turns in one of his best performances as the local District Attorney who knows that Rogers saw the murder and needs her to testify in order to bring down the local Klan organization, which he is determined to do.

    At a time when the government was far more interested in ferreting out "Communists"--who it was convinced were the driving forces behind the burgeoning civil rights movement--than it was in eliminating far more dangerous menaces like the Klan, it took guts for Warners to come out with a film like this. The movie actually was condemned as "Communist propaganda" by various right-wing groups, a charge Warners was used to by this time, and the studio courageously stood behind the film.

    Day, Rogers, Reagan, even Steve Cochran are at the top of their form here. A previous poster has called this a "forgotten gem", and he hit the nail right on the head. This is a first-rate film that isn't as well known as it should be, and is most definitely worth a look.
  • aharenan24 February 2008
    A great film noir. An exploration of evil, the mob mentality, the human animal, conflicts between family loyalty and doing the right thing, and the courageous hero facing down the ugly crowd; in presenting all of that it achieves some depth amidst the great nighttime scenarios. Excellent performances by Rogers, Cochran, and Reagan; an early and dramatic Doris Day role is also of interest. You may recall Street Car Named Desire as you watch the cultured older sister visiting her sister and the brute of a husband. There is above all the fascination of watching a 1951, a time well before the key events of the soon to arrive civil rights movement, depiction of the KKK as mass delusion and criminal fraud - homegrown terrorism... and only 35 years or so after the KKK's glorification in Birth of a Nation. It is notable that in this KKK film you will have a difficult time spotting any blacks; still a powerful indictment nonetheless. Don't miss it.
  • Warning: Spoilers
    After hearing about this movie for years I finally caught it on TCM. Overall I was impressed. It's not the searing indictment of the KKK many would've hoped for, but a studio movie made in 1951 (in the McCarthy era) could only be expected to go so far, so it's not fair to judge it by today's standards.

    Similar to "Black Legion," also made by Warner Brothers 14 years earlier, the local Klan leaders are shown as primarily interested in making money off their gullible membership, and their fear regarding the story being written by the reporter they murder is that it's going to get them in trouble with the IRS. Actually, "Black Legion" went a bit further by showing the Klan beating and burning down the house of a young Eastern European immigrant who gets promoted at the local factory over "pure American" Bogart. So it did show the Klan leaders as being motivated by bigotry and hate, and not just out for a buck. It's sad but true that Hollywood was braver in 1937 than 1951, but like I said, it was a reflection of the times. The boldest thing in "Storm Warming" is when the Klan leader says to Ginger Rogers that without them she wouldn't be able to walk the streets safely at night. This is a reference to vicious lies spread by the KKK in the south post-Civil War, but you would have to know that history to get what he is alluding to.

    Unlike some other reviewers, I was not bothered by the fact that the people in this southern town had no accents, because then it made the theme more universal instead of it being confined to "rednecks." Also, in a lot of movies set in the south, the actors' fake southern accents are laughably bad. I certainly didn't want to hear Ronald Reagan, who was supposedly born and bred in that town, doing a southern accent. But there was a weird bit of casting with character actor Ned Glass (Doc in West Side Story) as the local bowling alley manager. With his New York accent he seems distinctly out-of-place.

    I thought that both Ginger Rogers and Doris Day gave good performances, and it's a bit shocking to see how badly they're treated. Doris is essentially playing the Kim Hunter part from "A Streetcar Named Desire" (and even looks like her), but is treated far worse than Stella. She gets pushed, punched, and eventually shot. No movie ever treated Doris that way again. Ginger also gets physically abused, and even whipped (though through her blouse, so that scene cops out a bit). I thought that Steve Cochrane, an underrated actor, was quite good as Doris' husband, though there are some credibility issues with his character. Initially you think he's a decent but not very bright guy who's being exploited by the Klan, but as the movie progresses he gets increasingly mean and crazy, climaxing in his attack on Blanche, I mean Ginger, a scene that is well directed and has real impact.

    The big climax also delivers some real tension, thanks in part to the visual iconography of the Klan uniforms and burning cross. But the way the group folds up and slinks off into the night after Ronald Reagan verbally shames them lessens the impact. That scene is like the movie as whole. It delivers, but only up to a point.

    Interesting to note that the movie's screenwriters were heavyweights Daniel Fuchs ("Criss Cross" and "Panic in the Streets," among other classic noirs) and Richard Brooks (later the writer-director of "Elmer Gantry," "In Cold Blood"), both personally very political and known for not shying away from controversial subjects, I'm guessing that their original script may've been toned done by the studio?
  • Warning: Spoilers
    Ginger Rogers is cast as a model (a very OLD model) on her way to see her sister (Doris Day) and her new husband (Steve Cochran). After arriving in the town, she wanders upon an ugly scene--a crowd of Klansmen taking a prisoner from the local jail and killing him vigilante-style in the street. In addition, she sees the identities of two of the men! Following the murder, the county prosecutor (Ronald Reagan) investigates but finds nothing but silence. It's obvious the 'nice' townsfolk participated and many know their identities--but no one is willing to talk. When he learns that Rogers saw the killing, he's excited to finally have a witness--but keeping her alive for the trial may not be easy--especially after her brother-in-law learns that she saw HIM at the killing! A lot more follows--and I won't say more because it could spoil the suspense.

    In many ways, this is a taut and excellent drama. BUT, it also pulls some of its punches. It's VERY strange that there are no black folks as characters in the film--not even as the victim. Now I am NOT saying the KKK didn't sometimes kill whites, but this was the exception to the rule and completely negates the whole racism angle. It's sad, but the film seemed to want to play it safe by playing it that way. However, while Hollywood was very hesitant to address race, 1949 (when the film was made--though they held it for a bit before release) was a good year with wonderful race films like "Pinky" and "Intruder in the Dust" also coming from rival studios, Twentieth-Century Fox and MGM. Fortunately, the film does manage to rise above this due to an exciting script--especially at the end (which is top-notch). Because of this and a few excellent performances (particularly for Reagan), it's well worth your time.
  • A very nice film overall, with Ronald Reagan probably turning in the best performance of this cast. Also notable for its direct attack on the Klu Klux Klan at a time when they were still a force. But this is also where the film gets a little strange. Virtually no mention is made of the Klan's ideology -- other than a few passing references to "hate" and "bigotry". There is a mob lynching/murder at the start of the film -- but it is not a racial attack. It is the killing of a white reporter who had been investigating and threatening to "expose" the Klan. Expose them for what? Tax evasion! They had been selling Klan trinkets to members and not reporting the income. The Klan is shown as essentially a criminal organization whose purpose is to fleece its own members for profit. In fact not one black actor has a line in this film. I am sure the producer's intentions were noble and maybe they felt they could not address the issue of racism head on, and therefore chose a somewhat oblique approach to discredit the Klan. But I can't help but feel that there is a certain disingenuousness to this film. Maybe this was brave for 1951, I really don't know.
  • chance-918 December 2001
    This film holds up so very well even after fifty years. The searing indictment of smalltown xenophobia and the struggle for truth is the hallmark here. Reagan does well in the role, but Steve Cochran and especially Ginger Rogers really shine here. The closing seconds with the fleeing Klansmen and the crumbling fiery cross coupled with strong orchestral strings leaves a hard hitting message that resonates. This film belongs on DVD as a testament to the ongoing struggle against intolerance, ignorance, and the fear of those things that are different. 1951 - 2001, sadly the need for that continues.
  • Watching Storm Warning just now-a movie which takes on the Ku Klux Klan-I had expected a compelling drama about what kind of organization it was and how it was going to be exposed. But instead of widely revealing how it treats anyone who's not white or of a certain religion with complete contempt, this film just glosses over that while concentrating on the attempts to cover a murder of a nosy reporter which gets witnessed by an outsider (Ginger Rogers) as she looks for her sister (Doris Day) and her husband (Steve Cochran). In addition, a crusading attorney (Ronald Reagan) is trying to get Ms. Rogers to spill the beans in court...Because of what I mentioned above, not to mention the obvious stealing of material from Tennesse Williams' "A Streetcar Named Desire", this film isn't very good as a history lesson and the score, along with some of the dialogue and scenes, make the whole thing a little melodramatically dated. Still, as such and with good performances by those four leads I mentioned, not to mention many of the supporting ones, Storm Warning is still pretty entertaining and worth a look for anyone curious about how such subject matter was treated in an era of censorship and post-war political atmosphere.
  • Warning: Spoilers
    This powerful social drama takes Warner Brothers back to the type of socially conscious films it made during the 1930's. The evils of the proclaimed society protecting group of the KKK are exposed by their murder of a reporter out to expose them, witnessed by New York visitor Ginger Rogers who recognizes one of the men as her sister's husband, and another as his boss. With a young Doris Day as Rogers' sister, Steve Cochran as the sneaky husband (accused by his own boss of being the shooter), and Ronald Reagan as the law enforcement officer out to expose the clan for its sinister control of the Klan, this is heated drama from the start.

    The klan is presented as every day, normal businessmen who live simple lives but have the secret lives of klansmen. That makes their evil all the more sinister, frightening decent citizens into lying for them, and unsuccessfully trying to bully Rogers into keeping her mouth shut. But Rogers is tougher than they believe a woman can be, and it takes some time, but she'll come to her senses. Unfortunately, there are innocent victims other than the man she saw being killed.

    The performances are all decent, not really any stand outs, but the script is strong and riveting. Rogers and Day are believable as sisters, and Rogers really makes an impact as she freezes Cochran with her looks in the scene where they meet. The Klan is obviously filled with cowards, hooded bullies only strong in a group, and Cochran's face reveals his inner guilt. A scene with Rogers in nothing but a slip is very similar to a situation in another Warner Brothers film in production based upon a smash hit Broadway play.

    Still potent today, the film has some scenes thar are deeply disturbing. This nearly 70 year old movie reminds us that nothing has changed but the type of anger that reaches deep into the souls of the victimized group, the bigots that may have lost outward power but keep the hate alive, and the blithe on decent people who have strived to make things better for all groups but end up being made to feel that they could be viewed as enemies on both sides in spite of being fighters for total freedom and equality. The final scene has its shock, but a part of it seems to be more wishful thinking than reality.
  • Storm Warning (1951)

    An anti-KKK film that doesn't mention blacks or Jews or other persecuted groups. Instead, the victim is a journalist who we assume was uncovering those crimes. The drama is high, the filming dramatic with lots of night stuff (some of it daringly dark), and the leading actors very good.

    The star here is Ginger Rogers, and she pulls off a subtle job of being both a very strong woman and an average American unwilling to stick her neck out. In a way, that's the one main point of the movie--that the KKK continues in little towns in mid-century America because regular people who are normally models of fortitude decide to just look the other way.

    Doris Day and Ronald Reagan, both archetypes of some kind of social conservatism later in their careers, play ordinary folk here. Day is the wimpy sister who happens to be married to a lousy klan bruiser. She plays the weak American, you might say, who protects her man even when he's obviously murderous. Reagan is the easy going prosecutor--and he's easy going in the way he'd later be the easy going president. He gets things done by slowly and cheerfully persisting.

    Director Stuart Heisler made a number of hard edged movies in his career, including one of my favorites, "The Glass Key." But, as in many of these others, he goes for style over substance here. You might say the American public wasn't ready to face their ambivalence over the KKK head on, and that the studios skirted the issue and were brave for bringing it up at all. Well, reviews from the period say otherwise. They call the movie wimpy and elusive, and it is.

    What you do get is a series of really good but really familiar situations where the KKK members coerce and force the regular townspeople into going along with their evil ways. There is no mention at all of the what the KKK was against, or the racism that was at the heart of the issue nationally. There are, to be sure, several black actors as extras in a couple of scenes, but this is hardly relevant except to say that the opportunity was there to push the issue much harder, much harder. Even Warner Bros. own "Black Legion" from 1937 (and starring Humphrey Bogart) was better at making the issues pertinent. "The Intruder" from 1962 (and starring William Shatner) is better at getting to the point despite its low budget, and maybe shows how the country was dealing with the issue more openly by then.

    "Storm Warning" is so well made and filled with great scenes--both the small town settings and the wild KKK meeting in the woods--it's worth seeing. And the opening ten minutes is so creepy it will really make you perk up. They say Rogers is miscast here, but I think she was supposed to be the sophisticated outsider who might, in fact, stand up for justice. And then she doesn't. See it.
  • bkoganbing22 August 2008
    Not that the subject matter of Storm Warning lends itself to music, but isn't it fascinating that Warner Brothers cast two of the best female musical performers in the history of film as the two leads. Sisters even.

    For Ginger Rogers this was hardly her first dramatic part, having won an Oscar for Kitty Foyle. But this was Doris Day's first non-singing role and she acquits herself very well.

    Ginger gets off a Greyhound Bus in some small southern town where her married younger sister Doris lives with her husband Steve Cochran. In those wee small hours during the graveyard shift, Ginger witnesses a murder committed by several men in white sheets. And lo and behold she recognizes one of them as Doris's husband.

    Cochran is the best one in the film, a real boorish lout of a redneck. But Doris loves him although bit by bit she gets disillusioned. Rogers spends the whole film trying to make Doris see Cochran for what he is.

    The Ku Klux Klan might have been the Elks in white sheets. No pun intended, but they get quite a white washing here. No mention at all of their racism or hatred of Catholics, Jews, and foreign born of all kinds. Still they are a nasty bunch who have a habit of doing in people who disagree with them.

    Ronald Reagan here is a District Attorney who is bland in a very poorly written role. The problem with the Klan was that the various county District Attorneys in the south were more than likely Klan members or who at best just looked the other way. After all these cretins with the hoods were the very voters who put in the District Attorneys. When the Klan was prosecuted, if witnesses were found against it back in those days, it was always done at the federal level by appointed United States Attorneys.

    Still Cochran and Day got the deserved best notices for this film which unfortunately defuses the issues it brings up.
  • A crackling good melodrama from the socially conscious studio of record, Warner Bros.

    Director Heisler really knows his way around crowds. The boisterous scenes in the bowling alley and liquor lounge are electric with vitality and look nothing like a bunch of Hollywood extras. At the same time, Jerry Wald was a major producer at Warner's and I expect it was he who made sure the small town ambiance is as authentic as it is. There are elements here that suggest a project somewhere between A and B levels of production.

    Catch those earmarks of noir in just the first few minutes—the all-night bus, the train whistle, the dampened streets, and the lonely diner. Right away a menacing universe is defined for us. But oddly, this is a KKK film that never once mentions race and shows, by my count, only one black person. Odd for a drama, which by implication takes place in the deep South. My guess is that the writers Brooks and Fuchs wanted to show that the Klan is not only a menace to Blacks, but Whites, as well.

    It's a fairly plausible script, though how a DA (Reagan) could get elected with such out- spoken anti-Klan views remains a stretch. What really works, in my book, is the chemistry between the sisters (Day & Rogers). Not only do they look alike, but there's genuine warmth between them. Thus, it's no stretch to think that Marsha (Rogers) would do nothing to jeopardize Lucy's (Day) happiness. And how visually right Cochran is for his part as the blue-collar Romeo, though his sniveling seems overdone at times.

    I really like the way the screenplay embeds the Klan in the very fabric of the town. These are not ordinary hoodlums despite their violent activities, and a bolder script would have shown more fully what the attraction of the Klan was for these townsfolk (there's one loaded mention of making sure women can walk safely down the street). There were a number of these racially charged dramas during this period—No Way Out (1950), The Well (1951), Lost Boundaries (1949)—and all are strong dramas, including this one. However, the McCarthy purges soon put an end to social problem films for the remainder of the decade, and now they await rediscovery by fresh generations. This is one of them.
  • Warning: Spoilers
    This film reminds me a little a bit of the Bette Davis film "Storm Center" (about a librarian who fights book censorship), from 1956. At least in tone. And as our younger reviewers watch this, they probably won't get it..."it" being how risky this kind of film was in 1951. This was a rather powerful film for that era, not only in terms of the topic it tackled, but how often before this did you see women publicly whipped? The biggest surprise of this film is probably the way Doris Day appears. It almost seems as if she is without makeup. Very plain looking. This was not her first dramatic role, as has been indicated here; that would have been "Young Man With A Horn" from a year earlier. A fine performance.

    However, the highest marks go to Ginger Rogers as the woman who comes to a southern town to visit her sister and witnesses a KKK murder. It's only recently that I've begun to notice Rogers in dramatic films; she's really very good here.

    Ronald Reagan...well, a little difficult to pigeon hole here. In the early scenes of the film...well, about as bad acting as I've seen Reagan do. But once we get to the inquest, he does fairly well. He was not a strong actor, but he had his moments.

    Steve Cochran as the husband of Day and brother-in-law of Rogers is quite good...does a nice job of showing the kind of jerk who was probably a pretty typical Klan member. Hugh Sanders was decent as the head of the local Klan.

    This is not a "great" movie, but all things considered, it's pretty decent. It does a pretty good job of showing how the Klan operated in the rural south. Recommended.
  • In this early 50's film with a star-studded cast that includes Doris Day,Ginger Rogers and Ronald Reagan as a District Attorney trying to bring the KKK to justice was way ahead of it's time especially during the segregated 50's is another great film never released on vhs/dvd unless you're fortunate enough to catch it on TV.This movie is an amazingly,ahead of it's time masterpiece against bigotry and hatred!!
  • This film had a near-perfect lead cast...This was a terrific concept and storyline that begged to be executed to its fullest potential. The two weakest factors here are the screenplay (Richard Brooks notwithstanding) and the direction; the Fuchs/Brooks treatment should have been credited as Story, while a definite re-write was in order. Stuart Heisler, as good as he was, fell flat here. This film needed either King Vidor, Howard Hawks, or William Wellman at the directorial helm. Dalton Trumbo should have done the screenplay ... Or if he could have been persuaded, the one and only John Steinbeck (who scripted 'Viva Zapata' 1952)... Ginger Rogers was perfectly cast, as was the girl next door, Doris Day. Reagan was good but Fred MacMurray would have been better and edgier (a la 'Double Indemnity'). This film could have been a cinema masterpiece. There was at least one scene in which Reagan actually says "well..." Of all the superstar actresses of the Golden Age of Hollywood, Ginger Rogers had to be the most luscious and delectable...Simply because she didn't try to be. She just was...
  • Warning: Spoilers
    This movie opens with Marsha and Cliff on a bus. They work as a team for a clothing manufacturer, where he is a salesman and she is a model. They are supposed to meet some buyers the next day, but she says she is getting off at Rock Point to see her sister and will catch up with him the next night, which means she won't be there to model the clothes as she is supposed to. She tells him to show them the clothes on hangers.

    In real life, stealing a little time from the boss is no big deal, something most people have done at one time or another. In a movie, however, it often happens that people are punished severely for a mere peccadillo, and so we get a slight sinking feeling at this most venial of sins. But it gets worse. She starts taking samples out of Cliff's suitcase to give to her sister, whom she has not seen in two years, as a belated marriage present. This means she is not just stealing time from her boss, but dresses as well. Furthermore, she is putting Cliff on the spot. "What will I tell the home office?" Cliff asks, knowing he has to account for every item. "Tell them you ran into Jesse James," is Marsha's flip answer. In other words, she is not saying that she intends to reimburse the company as soon as she gets her next paycheck.

    At this point, we might be wondering if they are in some kind of romantic relationship, in which case it might make sense that she would expect the man who is in love with her to cover for her. But the movie nips that in the bud. It is immediately made clear in their conversation that Cliff has been pursuing Marsha for some time, but to no avail, and she is firm in telling Cliff that it is time for him to give up. In short, she is imposing on a man whom she will not even go to dinner with.

    When the bus pulls into Rock Point, Cliff gets off with Marsha just to stretch his legs. Marsha heads to a payphone to call her sister to come pick her up. She tells Cliff to give her a nickel, which he does. He tries to buy a pack of cigarettes at the counter, but is told to use the machine. Apparently cigarette machines were new at the time, because Cliff comments that the way things are going, pretty soon they won't need people. He returns to the phone booth just as Marsha hangs up.

    Because no one answered the phone at her sister's house, Marsha retrieves the nickel, and, with Cliff standing right there, she opens her purse, holds the nickel about six inches over the opening, and drops it in, ostentatiously not returning it to Cliff. She could have simply slipped the nickel into her purse while still sitting in the booth, but the movie is going out of its way to make sure we notice this business about her keeping it.

    But she's not done. She turns to Cliff and tries to bum a cigarette. As it is a fresh pack, Cliff has trouble removing one cigarette, and because the bus is about to leave, he ends up tossing her the whole pack as he gets aboard. She is stealing time from her boss, she stole some dress samples, she kept Cliff's nickel, and now she even has the poor guy's only pack of cigarettes, all in the space of ten minutes. Taking it all together, we see that Marsha is the kind of woman who, because she is attractive, believes it is her prerogative to take advantage of men, even men she has no interest in romantically.

    None of this had to be in the movie, and it did not get in there by accident. The script could have been written differently, in which she simply tells a passenger she happens to be riding with that she is going to see her sister, after which she gets off the bus and uses her own nickel to make the call. The pack of cigarettes could have been left out entirely. Instead, script was written to make it clear that Marsha is a bit of a chiseler, and that she thinks she can get away with it on account of her looks. In real life, such women do. But this is a movie, and all that follows is punishment for her sins.

    Shortly after the bus pulls out, Marsha witnesses a murder by the Ku Klux Klan. However, the man is white. In other words, we most emphatically do not see the Klan doing anything bad to African Americans. Later in the movie, at an inquest, we do see a few such African Americans in the crowd outside the courthouse, but that is the extent of their presence in the movie. This movie plays it safe, avoiding the race angle.

    Furthermore, the people who made this movie are at pains to insist that the Klan is guilty of corruption and income tax evasion. In other words, it would not do to portray the Klan as composed of people who are sincere in their racist beliefs, who lynch people to preserve the Aryan cause of white supremacy. Instead, the Klan is portrayed cynically, making it out to be just a racket.

    In any event, Marsha is almost raped by a Klansman, her brother-in-law, and then taken to a Klan meeting where she is whipped because she threatens to testify against them. He sister Lucy shows up with the county prosecutor and others to save her, but Lucy ends up being killed by her own husband.

    As the movie comes to an end, we can only hope that Marsha has learned her lesson and will not take advantage of Cliff in the future.
  • For those who feel the film wasn't ardent enough in its attack on the Klan, I wanted to point out that in the early 50s the hot button issue of the day was organized crime and the mafia. Many, if not most, Americans at that time shared racist and anti-semitic attitudes, and attacking the Klan on those grounds would not have had the effect it would have now. By positioning the Klan as an organized criminal gang,the filmmakers denied the Klan their ideological purity and their claim to 'cleaning up' communities. For those who protested the lack of Southern dialect in the film, you need to know the Klan was not uniquely Southern: it originated in Indiana and flourished up North as well. To this day white supremacist organizations are based in the North, and the two most segregated cities in the U.S. are Detroit and Chicago. Not limiting actors to a Southern dialect widens the perception of the problem. I'm not a Southerner, but I do think we need to be fair about this.
  • dead_end8 July 2003
    Well i stumbled on this movie zapping the channels of my satelite dish and got caught up by this movie cause i'm a sucker for old b&w movies. Not knowing what to expect i got caught up in the storyline right away, the movie kicks off dark moody suspensefull with Marsha Mitchell (ginger rodgers) a model from new york walking down the backstreets of a small town and witnessing a murder. After the event she runs away and finds here sister Lucy Rice (doris day) who she was visiting.

    Both the girls doris day and ginger rodgers give a great acting performance and they got me glued to the tv set for the rest of the movie. just great stuff!!!!

    recommended. 8/10
  • Stark, brutal Warner Bros. drama about the Ku Klux Klan, in much the same vein as the studio's "Black Legion" from 1937 (and with curious echoes of Tennessee Williams' "A Streetcar Named Desire", written in 1947). Fashion model from New York checks in on her recently-married kid sister once she's down South, only to run into a KKK lynch-mob and their murder of a white male reporter who was attempting to unmask the Klan's dirty financial dealings (seems the Grand Dragon was doing a little money laundering on the side, as well as evading the I.R.S.). Ginger Rogers doesn't dance, Doris Day doesn't sing, and Ronald Reagan (as the County Prosecutor) doesn't win one for the Gipper; still, the star-trio does remarkably well with this provocative scenario, unusual material for these particular actors. The middle portion during a court hearing (with Rogers perjuring herself on the stand to keep her brother-in-law out of trouble) sags a bit with the weight of too much melodrama--and for someone who dearly wants to get out of town, Ginger certainly takes her time getting her act together--but otherwise the film is heated and prickly, overwrought at times but engrossing. **1/2 from ****
  • JoeB13125 February 2012
    Warning: Spoilers
    Now, of course, Ronald Reagan as an actor was eclipsed by Ronald Reagan the President. So no one really talks about his films on their own merits other than to point out he was an actor.

    This is an interesting film, as it takes on the Ku Klux Klan (which is just called "the Klan" in this film). Ginger Rogers plays a model who witnesses a murder by the Klan on her way to visit her sister (played by Doris Day, of all people) only to find out her husband was one of the Klansmen.

    Reagan plays a crusading district attorney who challenges the Klan and investigates the murder with vigor.

    Now, my complaint is that the Klan are the villains, but they are sanitized. YOu get no feeling for WHY the Klan was evil. There's no mention of their racism. (In fact, there is not one black person in the entire film.) Their strength comes in their ability to terrorize white people into shutting up. To top it off, almost none of them have southern accents. (By 1951, the KKK had been pushed back into only the south.)

    They do have the great scene at the end where Reagan saves Ginger from a flogging, denouncing the Klan members and pointing out that he knew who they were even with the robes and hoods, and denounces them for "desecrating the cross". A nice scene at the end where the Klansmen retreat in a panic and the burning cross falls because one good man said "no".
  • Storm Warning is a real curiosity in terms of its casting – dancer Ginger Rogers, one time favourite partner of Fred Astair, and Doris Day, who went on to become America's favourite virgin/mum-next-door in light-weight comedy movies (while simultaneously achieving world-wide success as a singer), are cast a sisters in a film noir with no singing and dancing but scenes of murder, attempted rape, ritual scourging and domestic violence! Billed as an expose of the Ku Klux Klan the movie has been slated in some quarters for shying away from the real issues: no mention of the racism and sectarianism for which the loathsome organisation is infamous, no black faces in the crown scenes, no real idea of the location of Rock Point, the fictional town where the action is set – all that is explicitly stated is that it isn't New York! The film opens with Ms Rogers, on the way to a marketing assignment somewhere outside of the metropolis, stopping off en-route to visit her sister in small-town USA where, as misfortune would have it, she witness the murder by Klansmen of a 'meddling reporter'. Later, on meeting her sister's husband (Steve Cochran) Ms Rogers recognises him as one of the murderers. For the sake of her sister, who has just discovered she is expecting her first child, Ms Rogers lies at the court hearing claiming she saw nothing, therefore denying county prosecutor Ronald Reagan (yep, the one that became President) the chance of issuing subpoenas to every member of the local Klan chapter in pursuance of a prosecution. Through Ronnie's dialogue and that of the chief clansman and local employer, the film does indeed seem to portray the Klan as a bunch of hoodlums, thugs and petty gangsters whose main crime seems to be evading income tax ¬– as opposed to a quasi-religious organisation hell-bent on spreading hate, distrust and violence. While this does seem to indicate the studio back peddling on its intent to rip aside the veil of mystery surrounding the Klan, there is some truth in the description of its members. If the Klan only attracted law-abiding citizens and fought for its anti-Jew/catholic/black agenda through the ballot box it would be a laughing stock. The fear-inspiring fact of the matter is that this type of hate-fuelled organisation tends to attract hoodlums and thugs who aspire to violence and lust for power. Society can deal with and dismiss the ill-thought-out philosophies of these fringe organisations but it is more difficult to deal with the law-breaking, violent acts which take place in the dead of night perpetrated by cowardly gangsters who hide their faces. Made in 1951, Storm Warning, was the first movie to feature the Klan in such a negative fashion. It is hard-hitting in number of ways – while much of the action seems a little tame to the jaded audiences of 21st century, particularly the domestic violence perpetrated by Hank Rice (Steve Cochran), which is a mere shadow of that of Marlon Brando's Stanley in A Streetcar Named Desire, the scene were Ms Rogers actually vomits in the street having just witnessed the murder remains particularly shocking! While this Warner Bros production falls well short of the studio's best fare there are great performances from the leads and it is a pity the movie is so hard to get hold of – I had to get mine from a guy in Madrid!
  • HelloTexas1112 February 2008
    Warning: Spoilers
    A curiosity of a film, 'Storm Warning' is both a typical and unusual Ronald Reagan vehicle during the latter part of his film career. Typical in that the Reagan character, in this case District Attorney Burt Rainey, is a bland straight-arrow; unusual in its subject matter, the Ku Klux Klan. What perhaps started out as an expose' of that organization ends up portraying it as a sort of corrupt men's club whose chief vice is stealing the members' dues. Rainey investigates the murder of a news reporter and finds no one will admit to witnessing it, intimidated as they are by the KKK (one of whom killed the man). A woman from out of town, Marsha Mitchell (Ginger Rogers), did see it and is unaware of the situation in the small community, where locals kowtow to the Klan. At first she offers to testify, then withdraws after learning her sister (Doris Day) is married to one of the Klansmen (Steve Cochran, in a wonderfully loutish performance as the murderer). Finally, justice prevails, and the Klan is discredited. Viewers with even a passing knowledge of the KKK will find it almost unrecognizable in 'Storm Warning.' There is no mention of the group's hatred and persecution of blacks, Catholics, Jews, foreigners, etc. In fact, there's not a single black character in the entire film. The heavyset head Klansman might as well be the corrupt head of a labor union or a crooked politician. The very things which distinguish the KKK from other groups are not glossed over, they simply don't exist in this film. And what criticism is leveled against the Klan is of the 'one size fits all' variety; again, they may as well be talking about a poorly run hunting lodge. It's not until the final scene that we see a real Ku Klux Klan gathering that approximates, at least visually, what we might expect. Members wearing white robes, a big cross burning, and Marsha Mitchell being whipped for threatening to go to the DA with what she knows. I daresay this is the only film in history where you can see Ginger Rogers being treated in such a manner. It's tamer than it sounds though and some of the dialogue is laughable. The head Klansman sits on high as the whip comes down, taunting Mitchell with 'epithets' such as "Outsider! Busybody!" Hey buddy, watch your language. Then District Attorney Rainey shows up, showing all the indignation and righteous anger he might display when breaking up a back-alley poker game. (He goes up to one Klanswoman who has her daughter with her and says, "She should be home in bed.") There is panic in the Klan's ranks and Cochran's character is shot and killed just before the ensuing mêlée. Reagan's final speech to the crowd is not exactly ringing or riveting- "You're a bunch of mean-spirited little people... here desecrating the cross." But it's enough to send them all home, ashamed. Kind of like we feel for sitting through this mess.
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