How others will see it. Classic film fans may enjoy watching James Gleason repeat his comic relief driver schtick from The Bishop's Wife. This time his real-life wife Lucile shows up as his onscreen wife. Judy is lovely and gracious, and Walker demonstrates he doesn't have to be as creepy as he was in the vastly superior Strangers on a Train. Keenan Wynn shows up as a "funny" drunk, but fortunately, he has only one scene.
How I felt about it. Apart from forgiving classic film fans with an interest in the actors, there's not much to recommend here. It's a romance, and it has its dramas, such as a separation, a fight, a competing date, and finally, government red tape.
But its never compelling, which probably has more to do with Walker than Garland. Walker is something of a dork here. He's definitely more fun as a demented killer than as a lovestruck soldier boy. This only proves that Hitchcock is a better director than Vincente Minnelli, who shares the blame for Walker's wide-eyed performance. Garland is denied her best asset, her spectacular singing voice. But she's beautiful, and a natural actress.
The problem is with her character. She's nice, she's normal, she's boring. Garland is able to add her characteristic nervous touches, which help, but what we really want is for her to break out singing. The studio's prize, directed by her soon-to-be husband, and she's given this pedestrian story?
The Clock raises the practical question, how long should you know someone before you get married? Can you see through to a person's soul, and know their intentions, in just two days? Or ever?
In this case, the answer is yes. Walker and Garland have such dull characters that they are completely transparent. What you see is what you get, an earnest and depending love. At least until the mortgage bill comes due, or until Garland decides the unseen Freddy has a better sense of humor, or a higher paycheck. But that's The Clock, Part Two, which for some reason the studio never made.
The other parts made by The Clock is that the extravagance of the wedding ceremony is of less importance than the feelings and intentions of the newlyweds. This hoary principle has its truth, of course, but in practical life, people marry for a mixture of reasons, among which love rarely takes up more than a certain percentage.
The Clock, on the other hand, is manna for the young and romantic crowd that believes (or wants to believe) in true love, destiny, and dreamy gazes during a moonlight stroll. These kind of lovers may exist, just as lottery winners exist, but they are few and far between. You're probably better off with money in the bank.