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.
A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
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 <email@example.com>
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 »
When Tatum and Boot are talking in the Minosa's back room, the amount of alcohol Tatum pours in his glass changes. See more »
The excitement to finally see the only movie of Billy Wilder's greatest period I hadn't seen, verged on childishness. I love Wilder and I felt frustrated not to be able to find anywhere "Ace In The Hole" Well, all that's over now. I've seen it, in its crispy DVD release. The theme is Wilderesque, bitter sweet. Some of the lines belong, unquestionably, to the best Wilder sharp, unsentimental wit but, and unfortunately there is a big couple of buts here. Walter Newman and Lesser Samuels (his co-writers) are not Diamond or Brackett and Kirk Douglas is relentless in his on your face, loud son of a bitch. His "redemption" is literary but not cinematic. His performance starts way up high and stays there. I was longing for the laconic delivery of a Fred McMurray in "Double Indemnity" Here, one could see through his character way to easy and far too fast. Jan Sterling is lovely as the woman on the verge. Tough cookie. Delivering a couple of the best lines in the film. All in all, maybe my expectations were too high and the film deserves to be seen again. I will.
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