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Ace in the Hole (1951)

Not Rated | | Drama, Film-Noir | 4 July 1951 (USA)
A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.

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Nominated for 1 Oscar. Another 3 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
Herbie Cook (as Bob Arthur)
...
...
Al Federber
...
Leo Minosa
...
Lewis Martin ...
McCardle
John Berkes ...
Papa Minosa
Frances Dominguez ...
Mama Minosa
...
Deputy Sheriff
...
Sam Smollett
...
Dr. Hilton
Bob Bumpas ...
Radio Announcer
Geraldine Hall ...
Nellie Federber
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Storyline

Charles Tatum, a down-on-his-luck reporter, takes a job with a small New Mexico newspaper. The job is pretty boring until he finds a man trapped in an old Indian dwelling. He jumps at the chance to make a name for himself by taking over and prolonging the rescue effort, and feeding stories to major newspapers. He creates a national media sensation and milks it for all it is worth - until things go terribly wrong. Written by John Oswalt <jao@jao.com>

Plot Summary | Plot Synopsis

Taglines:

Rough, tough Chuck Tatum, who battered his way to the top ... trampling everything in his path - men, women and morals !

Genres:

Drama | Film-Noir

Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

Language:

| |

Release Date:

4 July 1951 (USA)  »

Also Known As:

The Big Carnival  »

Filming Locations:

 »

Box Office

Budget:

$1,800,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

In a 1950 memo to Billy Wilder, Kirk Douglas objected to several aspects of Chuck Tatum's monologue about missing New York City: "No pastrami! No garlic pickles! No Madison Square Garden! No Yogi Berra!", among other things. Douglas asked, "... what the hell is a Yogi Berra?". Douglas' secretary, who was amused her boss didn't know who the New York Yankee star was, told him he was a catcher. See more »

Goofs

When entering Mr. Boot's office at the beginning of the movie: The folder and newspaper in his left hand change position between cameras from outside and inside the office. See more »

Quotes

[first lines]
Charles Tatum: Hey. Pull up at the corner.
See more »

Connections

Referenced in Chicken Run (2000) See more »

Soundtracks

We're Coming, Leo
(uncredited)
Written by Jay Livingston and Ray Evans
Performed by unidentified vocalist and band
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Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
A great film
7 January 2006 | by (Winchester, Mass.) – See all my reviews

One of Billy Wilder's great movies, with a superb acting job by Kirk Douglas as the cynical, glory-seeking and even desperate reporter whose only goal is get back in the limelight by regaining his former big-city news desk job.

The idea of such a newspaper reporter manipulating events to stretch out a story at the expense of and disregard for the victim still seems nearly inhuman, but Douglas' performance makes it instantly believable. The story scenario in which locals, then passers-by and finally distant tourists gravitate to and then make a festival or circus out of the event (the film was also released under the title "The Big Carnival") is supported by the real events on which the story was most likely based: the West VA mine disaster in 1925 that trapped miner Floyd Collins and was reported for 17 days, much as in the film, by local newspaperman Skeets Miller, who crawled into the mineshaft for face-to-face interviews with the trapped and doomed Collins.

This movie fits nicely into the Film Noir genre, although it takes place largely under the hot, harsh glare of the Arizona sun, highlighting the sweat and grime visible on the characters' skin and creating a visual metaphor for the sorry state of their souls. I wonder if Henri-Georges Clouzot saw this film before he began filming "The Wages of Fear," because the visually pervasive atmosphere of sweat and filth and opportunism are equally present in both.


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