gavin6942 Mae Doyle comes back to her hometown a cynical woman. Her brother Joe fears that his love, fish cannery worker Peggy, may wind up like Mae. Mae marries Jerry and has a baby; she is happy but restless, drawn to Jerry's friend Earl.Although considered a film noir, and coming from Fritz Lang (who has made many noir films), I would not really put it in that category. No cops, no gangsters, no crime. The characters (at least some) are a bit seedy, but it's really more of a bad romance told in a stage-play style.Barbara Stanwyck is great as always, and this was a bit of a breakout role for Marilyn Monroe (though her part is quite small). Having Stanwyck, Monroe and Fritz Lang on the same film is quite a feat. Unfortunately, it is not the best work from any of them.

SnoopyStyle Mae Doyle (Barbara Stanwyck) surprises her fisherman brother Joe (Keith Andes) returning home to Monterey, California. Joe is dating Peggy (Marilyn Monroe). Mae claims her rich boyfriend died and his family took everything back in court. She starts dating simple fisherman Jerry D'Amato (Paul Douglas) and eventually marries him. His friend film projectionist Earl Pfeiffer (Robert Ryan) is bitter about his marriage. When his wife leaves Earl, Mae starts an affair with him escaping her tired family life with her new baby.The acting is really broad and old fashion. Stanwyck is putting her ballsy acting to use. Everybody is a little overdramatic especially Ryan. It's hard to see her with the old and bland Jerry. Stanwyck and Ryan is doing an even broader version of old fashion melodrama. Of course, one wants to see Monroe especially opposite a legend like Stanwyck. It's a rising star exploding whenever her minor role is on the screen. Fritz Lang brings out something so overwrought that it's almost a spoof. This is a fascinating movie of changing styles and the passing of the torch between two cinematic icons.

dougdoepke A hardened woman returns home to a fishing village only to be caught between two men.At least the movie has Andes and Monroe whose characters come across as refreshingly natural, along with revealing stock footage of the fishing industry. However, the rest of the film is pitched about ten decibels over the top, with all the subtlety of a hammer blow. Douglas's Jerry is not just a nice guy, he's a rub-your-nose-in-it Nice Guy. Similarly for Ryan's cynical Earl and Stanwyck's hard case Mae. Not even such first-rate performers as these can overcome the relentlessly overblown dialog or stagy sets. Nor does it appear the three were allowed to shade their performances beyond one-dimensional caricature. At the same time, the symbolism of roiling seas and surging tide is about as necessary as gravy on soup. In short, the movie amounts to a textbook exercise of heavy-handed histrionics and too much talk, Fritz Lang or no Fritz Lang.I expect other reviewers are right about the material being shaped for 1950's audiences. In those days, one way of getting people away from TV was to promise them titillation since there was none on TV. But then producers faced the problem of Production Code limits on what could be shown or said on screen, especially in the way of sex. Thus, the emphasis in the film is on the atmospherics of desire instead of anything more literal. This results in a movie that, unfortunately, drowns in an overlay of heavy breathing, standard innuendo, and redundant symbolism. Such may have titillated audiences then; now there's just a dreary sameness in the repetition. At the same time, that turnaround ending shouldn't be overlooked. Unhappily, it's of the same Code-compromised sort that damaged more 50's movies than just this one.I guess my biggest regret is how the movie takes three of Hollywood's most capable actors and reduces them to near-caricature of their usual screen persona, Douglas and Ryan, especially. Here's hoping they were at least well paid.

emhughley I bought this film on the star power of a young Marilyn Monroe alone. What I purchased was a lot of overwrought acting and hand wringing from a cast headed by Barbara Stanwick. The focus of the stark storyline is Barbara Stanwicks Mae Doyle character. Suffering from bitter hard life choices, regrets, loneliness and under lying lust and passion. Upon returning home from an illicit love affair gone wrong, Mae settles for 2nd best and marries the towns local dull fisherman. She eventually has his child but then ends up committing adultery with her husbands best buddy( Robert Ryan). She even contemplates abandoning the child to be with her secret new lover. This film must have been considered pretty daring stuff during the early 1950's. Along the way there is a lot of emotional speech making, overly dramatic love scenes, and dialog that are to me in this day and age laughable. With that said, any fan of Barbra Stanwick or Marilyn Monroe should see this movie.The direction of the film by Fritz Lang is tight with location shots and sets that are completely realistic and believable. I did tire of the symbolic waves pounding the beach after every dramatic turn of the plot. The style of film-making, acting, and plot line are completely appropriate for the era of this film. I just don't see it as true Film Noir, I see it as a tepid melodrama. I must also admit I did have a strong urge to fast forward to scenes only involving Marilyn Monroe. I watched the whole film and Marilyn Monroe forcefully dominates the very few scene's she is in. I really liked the tough girlishness she was allowed to project as "Peggy". Her character is not written as the dumb blonde persona she would regretfully embody later in her career. Although her scenes are somewhat brief you cant ignore the magnetic star power she possessed. It should be noted that Marilyn was not appreciated or well liked during the production of "Clash by Night". Her co-stars did not like the press attention that she generated while on set. Particularly a jealous Robert Ryan. He bellowed on set "They never take pictures of of the rest of us".."Why do the photographers only want pictures of that blonde bitch Marilyn Monroe"?.. he later shouted to her on set,"Don't EVER call me Robert.. It's Mr. Robert Ryan to you"...Its also been said Marilyn had trouble remembering lines, and was sometimes late for filming. She also came to the set regularly with red blotches on her face and hands after having vomited from being so nervous. Barbra Stanwick later had Monroe barred from the set if "Peggy" wasn't in any of her scenes being shot that day because it was to disruptive.. Upon its release, around the same time as Monroes "nude calender" shots were surfacing "Clash by Night" was a box office success. It brought in $1.5 million dollars. Aside from mixed reviews, movie goers were curious about its provocative star. The film certainly furthered her career but it made her a few enemies in return.