-30-

30 is a 1959 black and white American drama film directed by Jack Webb who also stars as the main character. Known for his work in Dragnet, Webb channels his meticulous attention to detail into this picture offering a vivid depiction of the vibrancy, urgency, and often chaotic world of print journalism.

The movie title “30” is derived from the traditional newspaper term that signifies the end of a story or article. Traditionally, journalists would conclude their stories by typing "-30-" or simply "30" - a phrase that has its roots with the telegraphic code meaning "the end" or "no more to follow". Weaving this into the film, Webb illustrates a story that explores the end of an era for many facets of life including personal relationships and changes in the field of journalism.

Set in the bustling, high-stakes environment of the Los Angeles Star newspaper, the film offers a captivating, behind-the-scenes look at how journalism operates, specifically during the mid-20th century. The narrative primarily revolves around the relentless managing editor, Sam Gatlin (Jack Webb), as he races against the clock to make the midnight deadline. The story unfolds over a tense, engaging 24-hour period, capturing the constant hustle and bustle of the newsroom.

Leading the news team, Webb’s character, Gatlin, is tough but fair, embodying the typical hard-nosed newspaper editor archetype. William Conrad, best known for his role in Cannon, lends his iconic baritone voice to the ensemble cast, adding another layer of grit and authenticity to the film. David Nelson of The Adventures of Ozzie and Harriet fame plays a young, idealistic reporter, adding a dynamic and contrast to the seasoned Gatlin.

One of the most noteworthy elements of the film is its accurate portrayal of the newspaper industry during its golden age. Webb’s direction and the script create an atmosphere that radiates the inherent tension and energy of a busy newsroom. The film pays particular attention to the rhythm and patterns of life in the newsroom, from the typewriters’ clicks and clacks, ringing phones, shouting reporters, to a plethora of paper. Every second is an adrenaline rush as reporters scramble to make the deadline, rewriting, proofreading, editing, and typesetting their stories ready for the press.

However, the movie is not solely about frantic typos and last-minute headlines. Woven within the world of journalism is a human element, exploring how the personal lives of the characters intertwine over conflicts, romances, and camaraderie. This movie dimensionally portrays the newspaper workers as more than just professionals, integrating their personal lives into the workspace and uncovering a multitude of subplots that each character confronts.

In addition to a well-plotted storyline, the film succeeds due to its talented cast. Webb's stern, disciplined demeanor pairs adeptly with his role as Gatlin, while Conard’s natural gravitas suits his part. Nelson's earnest portrayal of the fledgling reporter injects a fresh, optimistic perspective into the mix, providing significant contrast to the world-weary attitudes of his older colleagues.

Adding a layer of realism, the film was shot on location at the Herald-Express building in Los Angeles. The production design is meticulous, bringing the viewer right into the heart of a functioning big-city newspaper.

Despite being made in 1959, -30- echoes themes still relevant today pertaining to media ethics, sensationalism, and the social responsibility of the press. The movie deals with various journalistic quandaries experienced in the line of work while questioning the impact and consequences of their work on the society around them.

In conclusion, -30- serves as a compelling homage to print journalism. Its strong narrative, coupled with Webb's authentic portrayal of the newspaper industry and captivating performances from a skilled cast, make -30- an intriguing watch. It's a captivating tale of the triumphs, trials, and tribulations in the turbulent world of a mid-century metropolitan newspaper.