Wow, did I love Ace in the Hole (aka The Big Carnival) (1951). Like Gun Crazy (1950), it is one of those films I thought I knew only to find I didn’t, and it’s instantly become an obsession. It is a film that has added to my appreciation of its director — this time one I already loved, Billy Wilder (vs. Gun Crazy‘s lesser-known Joseph Lewis). I love the setting, the plot, the acting, the cinematography, and most of all the cynicism.
Ace in the Hole, however, isn’t an easy watch. The underground scenes between Kirk Douglas’s vicious reporter Charles Tatum and poor lug of a victim Leo Minosa (Richard Benedict) were intense in how impotent they make the viewer feel. Not unlike watching Jaws swim up underneath a swimming victim (or Lakeith Stanfield in Get Out), you want to shout “GET OUT!” But Minosa can’t, and neither can you as a viewer. You’re trapped by Tatum’s masterful control of a terrible situation for the purpose of self-aggrandizement.
Of course, the passive audience always looking for a thrill is, to my mind, the heart of this film and what makes it so powerful. Yes, we’re meant to judge Tatum until our condemnation feels like it could actually kill him. But we are also John and Jane Q. Public (aka the fantastically named Mr. and Mrs. Ferderber, the first to become “fans” of the Minosa rescue effort), and we’re condemned for it even more harshly than Tatum. Tatum, after all, is just a guy. He’s a guy with charisma and chutzpah, to be sure, but just one guy. But he needs others to enable him, to promote him, or to celebrate what he tells them to celebrate. So vicious and so true.
Like Gun Crazy, Ace in the Hole was a box office flop, an absolute bomb. Also like Gun Crazy, it’s ahead of its time and holds up incredibly well today. If you haven’t seen it, do.
P.S. I’m really interested in race in the film, including the literal and figurative presence of Native Americans and mixed marriages (the Minosas). I may write about this in future!
December 16, 2017 at 9:16 PM
I was shocked at how ahead of its time this film was. Nowadays it’s (very sadly)all too common for news crews to be filming every last second of a disaster or tragedy even when they really should turn the camera off. In a way news has become a form of morbid entertainment, and this film predicted that. Kirk is excellent in his role.
LikeLiked by 1 person
December 16, 2017 at 11:42 PM
Indeed, it’s a film that relates to the present perfectly. And Douglas is totally on his game.
LikeLiked by 1 person
December 16, 2017 at 9:47 PM
I never thought of that movie as a film noir, but I have no argument with a critic of it — a great cynical movie! Back in the ’90s, my best friend and I were discussing who would be best in a potential remake of the movie. We decided on Madonna as the sleazy wife and Geraldo Rivera as the reporter.
LikeLiked by 1 person
December 16, 2017 at 11:58 PM
I’ve found it in several books on noir, and both Douglas and Sterling are very noir types. Just atypical setting and confounds expectations of noir with its bigger focus. But then Sunset Blvd is called noir, too.
It is indeed ripe for a remake in our remake-obsessed Hollywood.
Older: Brad Pitt and Jennifer Aniston
Younger: Tom Hiddleston and Dakota Fanning
Haha
LikeLiked by 1 person
December 17, 2017 at 1:18 AM
I screened this film as part of our Great Movies series at the library earlier this year and out of around 40 or so people, only 2 had ever seen it and most had never even heard of it. The audience was knocked out by Douglas’s performance and couldn’t believe how “modern” the film felt. We were also fortunate to have several high school students there who thought the film pulled no punches whatsoever. I think everyone left that film going, “Wow….”
LikeLiked by 1 person
December 17, 2017 at 2:10 AM
What a great story and cool experience!
LikeLiked by 1 person
December 17, 2017 at 11:13 PM
I learn so much from reading this blog! I’ve nominated it for the Liebster Award! 🙂
http://www.debbimack.com/blog/2017/12/18/post-liebster-award/
That post goes live on Monday! 🙂
LikeLiked by 1 person
December 31, 2017 at 3:22 PM
How kind of you!
LikeLike
December 28, 2017 at 1:43 PM
Great essay! I never thought about the audience being trapped and helpless like Leo Mimosa is, but we are.
I love this film. It’s well acted and well scripted and almost more relevant now than when it was first released. But it’s the cynicism that haunts you long after the closing credits. Time to see it again.
LikeLiked by 1 person
December 31, 2017 at 3:24 PM
So glad you enjoyed it. I’ve lots more I want to discuss with this film and how it comments on noir anxieties related to race and cultural boundaries!
LikeLiked by 1 person