Another film that touches upon the many difficulties facing immigrants to America is The Glass Wall (1953).  The trouble for one “lousy foreigner” (to which is referred in the film) begins when he travels to America as a stowaway, seeking asylum after spending years of captivity in concentration camps during World War II.  The man, played by Vittorio Gassman, cannot prove his story to immigration officials and is refused entry.  He jumps ship in New York City to find the one man, a former G. I., who can verify his story.  Gassman has one night to find him, or he will be considered criminal, and never allowed entry to the United States.

Gassman prowls the city streets, ducking out of sight of cops on the lookout for him. He helps Gloria Grahame escape notice when she tries and fails to steal a coat.  His refusal to take advantage of her leads to friendship and trust, but they are separated by circumstance.  Yet it is her doggedness that prevents tragedy in the final act, as he turns to an empty United Nations building for help — and freedom.

Filmed in a neo-realistic style by Maxwell Shane, the film takes advantage of New York City locales and jazz music to create a bustling world terribly foreign and hostile to Gassman.  He is terrific in his first American role, though he would soon return to Italy, where he was a major star.  Grahame is excellent in a non-glamorous role, which is rare because she was usually cast as a sexpot.  I love the fact that their relationship barely even hints at sexual attraction; they are brought together not because they fall in love, but because they genuinely need each other’s help.

Tolerance and understanding are demanded by both of these films, and that message remains imperative today.  The Glass Wall demonstrates how someone can be victimized and punished by circumstances beyond his or her control.  Yet a helping hand at just the right moment can change someone’s life, or save it.  Both films are rather bleak regarding the state of America, at least in terms of how society either shuns or preys upon “outsiders.”  But they are also hopeful that the basic decency that resides in people (usually women) can and will result in compassion and dignity. My rating for The Glass Wall:  ✰ ✰ ✰.  (7:4).