THE BIG KNIFE

Everett Sloane talks to Jack Palance

THE BIG KNIFE (1955). Producer/director: Robert Aldrich. Screenplay by James Poe from the play by Clifford Odets.

Movie star Charles Castle (Jack Palance) was involved in a hit and run that killed a child, but his p.r. man, Buddy (Paul Langton), took the rap for him. Charles' wife, Marion (Ida Lupino), who is separated from him, swears she'll divorce him if he re-signs with Stanley Hoff (Rod Steiger), who probably helped engineer the deception. Now there's a new complication: Castle had a woman with him in the car that night, Dixie Evans (Shelly Winters), and she's drunkenly shooting her mouth off everywhere she goes. Now Hoff and his associate Smiley (Wendell Corey), want to take care of Dixie -- permanently ... The Big Knife might have worked on the stage, and the Odets original was undoubtedly better than this half-baked adaptation, but the film sinks almost from the get-go. The chief problem is the epic miscasting of Jack Palance. Charlie might have evoked some sympathy in the viewer if he was played by a man who could get across his essential weakness and confusion, but Palance seems incapable of ever displaying the slightest trace of vulnerability. It gives the actor his presence and strength, but he's just all wrong for this picture. His scenes with Ida Lupino are stagey and over-rehearsed and just don't work at all -- both of them are busy "acting" instead of being. We're constantly being told of how wonderful Castle is and of his supposed integrity, but all we see is a corrupt, self-absorbed individual who allowed another man to take responsibility for his actions, slept with the man's wife, and acts like a dickhead throughout. When he protests at the idea of "silencing" Dixie, it's hard to believe that he would object -- he's the last one to take a high moral stance. It's up to the supporting cast to give the film whatever limited stature it has. Rod Steiger has some ferociously effective scenes as Stanley [some might think he's merely showing off]; Wendell Corey underplays beautifully as the slimy Smily; Everett Sloane is as solid as ever as Charles' agent; and Paul Langton has a beautifully and powerfully delivered speech to Castle at the end of the film that is one of the most memorable bits in the movie. As for the women, Ilka Chase offers a dead-on portrait of an oily, if stereotypical, gossip columnist, Shelley Winters is so-so as Dixie, and Jean Hagen fails to impress as Buddy's sluttish wife, Connie. Wesley Addy has a nice turn as the writer Hank Teagle. Oddly, a confrontation between Dixie and Hoff that might have been quite cinematic and dynamic is mentioned but not shown, but the film isn't "opened" up very much. It's hard to like or enjoy a movie in which virtually every character is either unpleasant or annoying. Robert Aldrich was the wrong director for this, as well. For a worthwhile Odets adaptation, see Clash By Night.

Verdict: A fairly embarrassing mess of Hollywood pseudo-profundity with horribly miscast leads. **.

CLASH BY NIGHT

Barbara Stanwyck and Paul Douglas in a tense moment

CLASH BY NIGHT (1952). Director: Fritz Lang. Based on the play by Clifford Odets; screenplay by Alfred Hayes.

"Home is where you come when you run out of places."

"I'm tired of looking after men. I want to be looked after!"

"I guess it's terrible to get old and lonely. I guess that's what everyone's afraid of."

"You impress me as a man who needs a new suit of clothes or a new love affair, but he doesn't know which." 

Mae Doyle (Barbara Stanwyck) returns to the fishing village where she was born to escape unhappy memories of her failure to find lasting love and success in New York. She begins dating fisherman Jerry D'Amato (Paul Douglas) but can't stand his insolent friend Earl (Robert Ryan) and at first fights her attraction to him. Mae eventually marries one of those men, and an unpleasant triangle situation develops. The basic plot may be nothing new, but this is based on a play by Clifford Odets and has a richness of character and detail that lifts it far above the usual marital infidelity drama. Stanwyck and Douglas are superb and Ryan gives one of his finest performances which calls on him to be both hard and pathetically vulnerable. J. Carroll Naish gives another of his exemplary performances as Jerry's uncle, and Silvio Minciotti also scores as his old papa. There's also very nice work from Keith Andes [introduced in the film] and Marilyn Monroe [in her pre-stardom days] as, respectively, Mae's somewhat disapproving brother and his rather independent girlfriend. The film is very well directed by Fritz Lang, and beautifully photographed by Nicholas Musuraca. The only negative thing about the movie is the phoney Hollywood happy ending forced on it by the production code.

Verdict: It's a shame this lovely, intense adult drama isn't better known. ***1/2.

FILM NOIR CLASSIC COLLECTION VOLUME 5

FILM NOIR CLASSIC COLLECTION VOLUME 5.

Warner Brothers has just issued a new collection of classic film noir: 8 movies on four DVDs.

Cornered (1945)stars Dick Powell as a man who travels to Buenos Aires to try to uncover the mysterious man who is said to be behind the murder of his wife and many others in the French underground.

Desperate (1947) stars Steve Brodie as a man involved in a botched heist. Raymond Burr co-stars.

The Phenix [sic] City Story (1955) looks into corruption in an Alabama city and is directed by Phil Karlson. Widescreen.

Dial 1119 (1950) deals with a deranged escapee who holds hostages at a dive bar. William Conrad and Marshall Thompson star.

Armored Car Robbery (1950) features a battle of wits between a gun moll (Adele Jergens), a gangster, and a hard-boiled cop.

Crime in the Streets (1956) has a gang leader deciding that they must kill someone who blabbed a little too much. John Cassevetes stars. Widescreen.

Deadline at Dawn (1946) has a dancer helping a sailor prove that he didn't murder a gangster's sister. Bill Williams and Susan Hayward are the stars. This fine movie is based on a novel by Cornell Woolrich and has a screenplay by Clifford Odets.

Backfire (1950) has a veteran and his nurse-girlfriend encountering all kinds of characters as they try to prove that his buddy didn't commit murder. Gordon MacRae, Virginia Mayo, and Edmond O'Brien star and MacRae's future wife Sheila has a strong supporting role as well.

The movies are crisp, digitally re-mastered, and none have ever been on DVD before.

Check out the official Warner Brothers site.

Verdict: Entertaining and varied collection of hard-boiled movies. ***.

NONE BUT THE LONELY HEART

NONE BUT THE LONELY HEART (1944). Director: Clifford Odets.

"Love's not for the poor, son. No time for it."

This is one of only two films directed by playwright/screenwriter Clifford Odets, and frankly you expect more from a man with his talent. The first problem is that Odets was adapting someone else's novel, and the second is that Odets the director wasn't a little tougher on Odets the screenwriter. To be blunt, despite a good idea and some nice moments, None But the Lonely Heart is a talky bore.

Ernie Mott (Cary Grant) wants to live free and independent, but when he learns that his Ma (Ethel Barrymore) is dying of cancer, he decides to stick around and help her run her shop. Although there's a nice, uncomplicated girl, Aggie (Jane Wyatt), who loves him unconditionally ("I wouldn't trade it for a box at the opera, the thing I feel for you," she tells him), Ernie gets involved with the much more complicated Ada (June Duprez). Ada is still very much connected to her brutal mobster ex-husband Jim (George Coulouris).

The problem with the plot is that the whole business of a basically nice guy getting involved

with a slick operator (in this case, Jim) to make money was pretty much old hat by 1944. In an earlier decade Mott would have been played by James Cagney and in a later decade Jim would have been enacted by Steve Cochran. In all the directions that the film could have gone, it chooses the most trite one.

The film is never convincing and is sentimental in the wrong way. Grant gives a very good performance, but he isn't exactly believable as a cockney or as someone from the lower classes; he's too old and too sophisticated by far. Barrymore is wonderful as Ma Mott, but even she is a touch too lady-like. Wyatt gives another lovely -- if brief -- performance as Aggie, and June Duprez does okay as Ada. Coulouris is on the money as Jim. An uncredited Queenie Vassar offers a vivid portrait of the larcenous Mrs. Snowden, and Konstantin Shayne and Barry Fitzgerald enact important supporting roles with aplomb.

Verdict: Disjointed disappointment, but with a great theme borrowed from Tchaikovsky. **.