DEADLINE-U.S.A. presents the crucial case for a free press and the threat of losing it in one of three 1952 productions centered around newspaper journalism. All three are very good, with this one, written & directed by Richard Brooks, the most financially successful and long held in high regard by those ‘in the know’ about the news business. Samuel Fuller’s passion project Park Row  was a historical period piece set in the 1880s. Phil Karlson’s Scandal Sheet opted for noirish suspense. Hard-nosed ex-Marine Brooks, like Fuller, had worked in news before films, and he based his story in part on the 1950 demise-by-design of the New York World, dumped by the sons of Joseph Pulitzer in order to force a merger.

“It’s not enough any more to give ’em just news. They want comics, contests, puzzles. They want to know how to bake a cake, win friends, and influence the future. Ergo, horoscopes, tips on the horses, interpretation of dreams so they can win on the numbers lottery. And, if they accidentally stumble on the first page… news!”

Veteran newspaper editor ‘Ed Hutcheson’ (Humphrey Bogart, 52) is used to making multiple decisions involving many news stories and their relative importance, juggling the talents and skills of his personnel, a staff of 1,500. But he’s up against a ticking clock. The owners of ‘The Day’ are poised to sell it, and Hutcheson knows it will be cannibalized as a result. Hoping to sway chief stockholder ‘Margaret Garrison’ (Ethel Barrymore), he’s trying to nail down a murder story that will bring teflon racketeer ‘Tomas Rienzi’ (Martin Gabel) to justice and at the same time valiantly seeks to reconcile with his ex-wife ‘Nora’ (Kim Hunter), about to remarry.

Brooks’ sharp writing and detailed direction smoothly ensure that the sellout basis blends with the crime and  romantic dilemma subplots. Bogart’s in top form, fully persuasive (and inspiring) as a dexterous man-in-charge, brooking no-nonsense from fools and lowlifes, he;s also a loyal partisan and friend, and a deeply wounded spouse. He has deft interaction with the large cast of supporting players (they feel like actual co-workers rather than cut-out types) and enjoys great scenes with venerable grande dame Barrymore, 72, in a mansion, with slimy hood Gabel in a taxi and with fresh Oscar winner (A Streetcar Named Desire) Hunter, 29, in a restaurant.

Choice observation from Ed/Bogie, looking at a photo of his ex-wife’s boyfriend: “I don’t like him. I’ll think of a reason later.”

Good reviews came but it wasn’t a big hit, the $3,500,000 gross stopping on spot #102 for the year. Buoyed by Bogart’s star power, it did do better than Scandal Sheet (137th) and the barely seen Park Row. All are worthy, Deadline-U.S.A. the most frequently praised when quality films about the profession are discussed.

“A free press, like a free life, sir, is always in danger.”

A slug of familiar faces in the cast: Ed Begley, Paul Stewart, Joe De Santis (excellent), Jim Backus, Audrey Christie, Warren Stevens,Carleton Young, Parley Baer, John Doucette, Thomas Browne Henry, Joseph Sawyer, Lawrence Dobkin, Willis Bouchey, Paul Dubov, Robert Foulk, Dabbs Greer, Jesse White. James Dean, 20, can be glimpsed as a copy boy.