| Photos (see all 19 | slideshow) |
| Gregory Peck | ... | Philip Schuyler Green | |
| Dorothy McGuire | ... | Kathy Lacy | |
| John Garfield | ... | Dave Goldman | |
| Celeste Holm | ... | Anne Dettrey | |
| Anne Revere | ... | Mrs. Green | |
| June Havoc | ... | Elaine Wales | |
| Albert Dekker | ... | John Minify | |
| Jane Wyatt | ... | Jane | |
| Dean Stockwell | ... | Tommy Green | |
| Nicholas Joy | ... | Dr. Craigie | |
| Sam Jaffe | ... | Professor Fred Lieberman | |
| Harold Vermilyea | ... | Lou Jordan | |
| Ransom M. Sherman | ... | Bill Payson | |
| rest of cast listed alphabetically: | |||
| Monya Andre | ... | (uncredited) | |
| Louise Buckley | ... | Mother (uncredited) | |
| Patricia Cameron | ... | (uncredited) | |
| Jack Conrad | ... | Bellboy (uncredited) | |
| Curt Conway | ... | Bert McAnny (uncredited) | |
| Olive Deering | ... | First Woman (uncredited) | |
| Irene Dehn | ... | (uncredited) | |
| Jane Earle | ... | Child (uncredited) | |
| Morgan Farley | ... | Resort Clerk (uncredited) | |
| Franklyn Farnum | ... | Party Guest (uncredited) | |
| Grace Field | ... | Old Lady (uncredited) | |
| Helen Gerald | ... | Page Girl (uncredited) | |
| Fred Godoy | ... | (uncredited) | |
| Wilton Graff | ... | Maitre d' (uncredited) | |
| Jane Green | ... | Second Woman (uncredited) | |
| Virginia Gregg | ... | Third Woman (uncredited) | |
| Tom Handley | ... | (uncredited) | |
| Joe Haworth | ... | Bellboy (uncredited) | |
| Hallene Hill | ... | Old Lady (uncredited) | |
| Edna Holland | ... | (uncredited) | |
| Art Howard | ... | Party Guest (uncredited) | |
| Bert Howard | ... | Party Guest (uncredited) | |
| Mauritz Hugo | ... | Guest at Anne's Party (uncredited) | |
| Boyd Irwin | ... | (uncredited) | |
| Robert Karnes | ... | First Ex-GI in Restaurant (uncredited) | |
| Leo Kaye | ... | Porter (uncredited) | |
| Kenner G. Kemp | ... | Nightclub Table Extra (uncredited) | |
| Victor Kilian | ... | Olsen (uncredited) | |
| Mike Lally | ... | Party Guest (uncredited) | |
| Raymond Largay | ... | (uncredited) | |
| George Leigh | ... | (uncredited) | |
| Lewis Leverett | ... | Father (uncredited) | |
| Arthur Little Jr. | ... | (uncredited) | |
| Kathleen Lockhart | ... | Mrs. Jessie Minify (uncredited) | |
| Louise Lorimer | ... | Miss Miller (uncredited) | |
| Lee MacGregor | ... | Bellboy (uncredited) | |
| Adrienne Marden | ... | (uncredited) | |
| Marion Marshall | ... | Guest (uncredited) | |
| Noel Mills | ... | Mother (uncredited) | |
| Marlyn Monk | ... | Receptionist (uncredited) | |
| Henry Mowbray | ... | (uncredited) | |
| Howard Negley | ... | Joe Tingler (uncredited) | |
| Gene Nelson | ... | Second Ex-GI in Restaurant (uncredited) | |
| John Newland | ... | Bill (uncredited) | |
| Stella Rae | ... | Old Lady (uncredited) | |
| Herbert Ratner | ... | Father (uncredited) | |
| Pattie Robbins | ... | Receptionist (uncredited) | |
| Roy Roberts | ... | Mr. Calkins (uncredited) | |
| Wallace Scott | ... | Bellboy (uncredited) | |
| Larry Steers | ... | Hotel Lobby Extra (uncredited) | |
| Laura Treadwell | ... | (uncredited) | |
| Robert Warwick | ... | Irving Weisman (uncredited) | |
| Jesse White | ... | Elevator Starter (uncredited) | |
| Frank Wilcox | ... | Harry (uncredited) | |
| Barbara Woodell | ... | (uncredited) | |
| Mary Worth | ... | (uncredited) | |
Directed by | |||
| Elia Kazan | |||
Writing credits | ||
| Laura Z. Hobson | (novel) | |
| Moss Hart | (screenplay) | |
| Elia Kazan | (screenplay revision) uncredited | |
Produced by | |||
| Darryl F. Zanuck | .... | producer | |
Original Music by | |||
| Alfred Newman | (music) | ||
Cinematography by | |||
| Arthur C. Miller | (director of photography) (as Arthur Miller) | ||
Art Direction by | |||
| Mark-Lee Kirk | |||
| Lyle R. Wheeler | (as Lyle Wheeler) | ||
Set Decoration by | |||
| Paul S. Fox | |||
| Thomas Little | |||
Costume Design by | |||
| Kay Nelson | |||
Makeup Department | |||
| Ben Nye | .... | makeup artist | |
Production Management | |||
| Raymond A. Klune | .... | production manager (uncredited) | |
Second Unit Director or Assistant Director | |||
| Saul Wurtzel | .... | assistant director (uncredited) | |
Sound Department | |||
| David Bell | .... | sound editor (2009 restoration) | |
| Alfred Bruzlin | .... | sound | |
| Roger Heman Sr. | .... | sound (as Roger Heman) | |
| Matt Hovland | .... | foley mixer (2009 Restoration) | |
| Tony Margulies | .... | foley artist (restoration) | |
Special Effects by | |||
| Fred Sersen | .... | special photographic effects | |
Costume and Wardrobe Department | |||
| Charles Le Maire | .... | wardrobe director | |
| Sam Benson | .... | wardrobe supervisor (uncredited) | |
Editorial Department | |||
| Harmon Jones | .... | editorial supervisor | |
Music Department | |||
| Edward B. Powell | .... | orchestral arranger (as Edward Powell) | |
Other crew | |||
| Darryl F. Zanuck | .... | presenter | |
| Michael Audley | .... | dialogue director (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
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Although one certainly cannot say Gentleman's Agreement is not passionate in its aim to uncover the invisible cloak of anti-Semitism in post-war America, the execution of that objective could have used slightly more dramatic tension and immediacy.
Released the same year and touching on the same subject was Edward Dmytryk's Crossfire, which dealt with anti-Semitism at its extremes: murder with anti-Semitism as the motive. Gentleman's Agreement takes a more humanistic and subtle approach--one that is too subtle at times. Where Crossfire dropped the bomb of anti-Semitism into the laps of the audience, Gentleman's Agreement gives it to you in periodic shots in the arm in the form of a sermon, and each one says the exact same thing: anti-Semitism is bad. (But we knew that.) Yes, the message is an important one, but feeding it to the audience in a manner that is literally shoving it down our throats every few minutes doesn't help the digestion any.
Also lacking in Gentleman's Agreement is a three-dimensional protagonist. Peck's crusading writer who masquerades as a Jew is simply too zealous and unswerving for his own good. He has no faults, no inner conflicts and no doubts about himself. Whether he's being shunned by bigots or Dorothy McGuire, he's such a straight-shooter you know what he's going to do before he does: the right thing right away.
There's no real dramatic arc in the story, with the entire weight of the movie resting on the torrid on-again-off-again love affair between Peck and McGuire. She symbolizes the hypocrisy and passiveness of the everyday American on anti-Semitism, and he points it out to her every chance he gets-and that's all. It pretty much rambles on the same dramatic level all throughout the picture, dividing its time between love scenes and sermons, most of which are indistinguishable from one another.
In the end, the important message and the overall entertainment value of the picture suffers from this redundancy.