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Closed Caption; Commentary by author and publisher James Monaco; Movietone news footage (Film Premiere); Still gallery; Restoration comparison; Theatrical trailer; Widescreen format (Aspect ratio: 2.55:1); Audio: English Dolby surround, Spanish mono, French stereo; Subtitles: English, Spanish
Full Product DetailsSide #1 --
1. Main Titles [:31]
2. Job Offer [3:45]
3. Grandmother's Estate [6:17]
4. Bedtime [2:09]
5. Flashback [2:11]
6. Romance in Rome [4:52]
7. Wartime Love Affair [:10]
8. Job Interview [8:43]
9. Under Fire [1:47]
10. He's Not Dead! [6:28]
11. Significance [3:56]
12. Possibilities [:16]
13. Lunch With the Boss [6:22]
14. Salary Negotiations [2:01]
15. Parental Concern [2:31]
16. Big Plans [1:29]
17. Gray Flannel Suits [:18]
18. Contested Will [2:52]
19. A Million Dollars [5:14]
20. No Oomph [:08]
21. An Honest Opinion [1:52]
22. Being Fearless [6:24]
23. Suspicious Circumstances [1:59]
24. Elopement [4:49]
25. Truthful Feedback [3:25]
26. Men Like Me [2:13]
27. Maria's Letter [3:07]
28. Too Much Honesty [7:58]
29. Summer of '45 [:36]
30. Rage [5:42]
31. Family Man [2:21]
32. Honorable Actions [2:12]
Sloan Wilson’s bestselling novel about a Madison Avenue advertising executive searching for meaning in his life certainly inspired writer-director Nunnally Johnson, whose 1956 film adaptation actually improves upon the source material. Gregory Peck, who was always best in roles that reflected his socially conscious views, nailed the characterization of a hard-charging professional forced to reevaluate his priorities and choose between business success and the happiness of his family. A strong subplot, involving the married adman’s illicit affair with an Italian beauty during his combat service in WWII, gives costar Jennifer Jones ample opportunity to shine as the wounded wife tempted to leave her husband when she learns that he has an illegitimate child living in Italy. Reserved, perhaps even repressed, Jones’s wife is the classic '50s suburban homemaker, and her palpable heartbreak makes this element of the film especially moving. Marisa Pavan is enormously appealing as the object of Peck’s marital transgression. In the Madison Ave. part of the story, Fredric March excels as the dynamic broadcasting tycoon whose approval is highly coveted by Peck’s character and his co-workers. Although the 1950s was a period in which Hollywood generally reinforced traditional values, filmmakers occasionally dared to make movies that suggested the American Dream wasn’t always what it was cracked up to be. The Man in the Gray Flannel Suit took the subject head-on, and in so doing became one of the decade’s most memorable pictures. Ed Hulse, Barnes & Noble
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