If Film Noir movies were judged solely by the proliferation of night-time urban settings, use of chiaroscuro lighting and figures viewed in silhouette enshrouded by mist then 'Combo' would be the Rolls Royce of the genre. I can barely recollect a scene occurring in natural daylight and it's unlikely that sunstroke was a topic of conversation during coffee breaks.
As matters stand, this film is a corker from the moment David Raksin's stylish, sinuous jazz score kicks in over the opening credits to the aircraft hangar finale. Gritty, abrasive, violent and utterly compelling !
Racketeer Richard Conte has corruptly collected a colossal cache of cash, ably assisted by a bunch of sadistic henchmen eager to keep him happy. Suave and sophisticated on the surface, but smug, condescending and patronizing in his dealings with police lieutenant Cornel Wilde. Always one step ahead and exploiting any legal loophole to keep Wilde, who he dismisses as Small Change, at bay.
Though on opposite sides of the law , the two men have much in common. Conte's flamboyance contrasts with Wilde's flintiness, but both are driven, determined and volatile. Of greater significance, both are in love with the same woman (Jean Wallace).
Ultimately the plot hinges upon an unsolved murder from almost a decade earlier, which took place on a yacht belonging to Conte's business partner. Conte, for his part had little use for a boat. With such a monumental fortune, he could put to sea aboard his wallet !
As the story unfolds one is left with an impending sense that only one destiny awaits a man whose life has been built on avarice and impropriety.
By the movie's end I felt an affinity with Wilde, not that I make a habit of drinking hair tonic ! Like him, however, I have never been a fan of jazz albums that feature long, indulgent drum solos.
Coda: 'The Big Combo' marked the final film appearance by the lovely, but ill-fated Helen Walker.
As matters stand, this film is a corker from the moment David Raksin's stylish, sinuous jazz score kicks in over the opening credits to the aircraft hangar finale. Gritty, abrasive, violent and utterly compelling !
Racketeer Richard Conte has corruptly collected a colossal cache of cash, ably assisted by a bunch of sadistic henchmen eager to keep him happy. Suave and sophisticated on the surface, but smug, condescending and patronizing in his dealings with police lieutenant Cornel Wilde. Always one step ahead and exploiting any legal loophole to keep Wilde, who he dismisses as Small Change, at bay.
Though on opposite sides of the law , the two men have much in common. Conte's flamboyance contrasts with Wilde's flintiness, but both are driven, determined and volatile. Of greater significance, both are in love with the same woman (Jean Wallace).
Ultimately the plot hinges upon an unsolved murder from almost a decade earlier, which took place on a yacht belonging to Conte's business partner. Conte, for his part had little use for a boat. With such a monumental fortune, he could put to sea aboard his wallet !
As the story unfolds one is left with an impending sense that only one destiny awaits a man whose life has been built on avarice and impropriety.
By the movie's end I felt an affinity with Wilde, not that I make a habit of drinking hair tonic ! Like him, however, I have never been a fan of jazz albums that feature long, indulgent drum solos.
Coda: 'The Big Combo' marked the final film appearance by the lovely, but ill-fated Helen Walker.