This Movie Can Only Be Described With One Word.

This movie was so-so. It had it's moments, but wasn't the greatest.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

In Storm Warning, a woman witnesses a murder by the KKK and is forced to confront deep-seeded racism in her own family. You wouldn't such heavy material would star Ginger Rogers, Ronald Reagan, and Doris Day, would you? If you like the types of movies that deal with racism before the Civil Rights Movement, and while still in the confines of the Hays Code, Storm Warning is definitely one to put on your list. It's extremely tense and will keep you on the edge of your seat. Even though it was made in 1951 with a cast you wouldn't normally think to take seriously, it's still very heavy and thought-provoking. At the time, the subject matter wasn't exactly taboo, but it certainly wasn't dinner conversation. For strong characters who have to stand up to their community no matter the cost, look no further than Stuart Heisler's chilling drama. The acting is surprisingly good, and Daniel Fuchs and Richard Brooks's script is frightening without seeming melodramatic.

Was really surprised at how well 'Storm Warning' turned out. Despite having a love for drama, crime and film noir films and finding the Klu Klux Klan a fascinating if harrowing subject to talk about, there was the worry as to how Ginger Rogers and Doris Day would fare in atypical roles and whether Ronald Reagan would be up to the task.'Storm Warning' may not quite be a masterpiece, or an amazing film all the way through, but mostly it does live up to its potential and really does send up a storm in its best moments. It does sink into melodrama somewhat too much in the middle, with occasionally some of the dialogue slightly overheated, Tennessee Williams-esque dialogue (do love his stuff though) didn't seem to belong here. More of an issue was that the portrayal of the Klu Klan, although brutal and menacing at times, could have been more daring and more shocking.There was the sense that the film seemed too careful not to offend (when it really shouldn't have been afraid to tell the truth and express exactly what at the time and now everyone's stance on the Klan was) meaning that there was a glossed over feel.However, 'Storm Warning' is a visually striking film, the noir-ish look is seedy and gritty yet also audacious and luminous. There are some beautiful shots here and some of it has a real creepiness, the atmospheric sets and lighting also help. There is similarly a haunting score from Daniele Amfitheatrof and suitably taut direction from Stuart Heisler, based on their efforts here wouldn't hesitate in hearing and seeing more from them.Regarding 'Storm Warning's' script, it is thought-provoking and tight on the most part, if a little melodramatic and overheated in the middle at times. The story tackles some heavy and dark themes and does so in a hard-hitting and poignant fashion, complete with an ending that wrenches the gut, aside from the too safe portrayal of the Klan itself it's pretty ahead of the time stuff we're dealing with here and it really does not pull any punches. 'Storm Warning' is as dark and gritty as one can get and is less than glamorous, but that is what makes the film as good as it is in its best moments.Casting and the performances are very good. Ginger Rogers and Steve Cochran especially so, it's a courageous dramatic turn for Rogers and one that she handles with grit and sincerity while Cochran is nerve-shredding. Wasn't expecting Ronald Reagan to work, was expecting him to be bland and out of kilter so it was surprising that he was neither, and Doris Day (though she is much better in comedy and musicals, which suit her talent far more) is cast against type in a rare early dramatic role and comes over credibly.Overall, not perfect but a valiant effort and when it's at its best boy isn't it good. 8/10 Bethany Cox

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.

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.