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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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>
When the film was released, it got bad reviews and lost money. The studio, without Billy Wilder's permission, changed the title to "The Big Carnival" to increase the box office take of the film. It didn't work. On top of that, Wilder's next picture, Stalag 17 (1953), was a hit and he expected a share of the picture's profits. Paramount accountants told him that since this picture lost money, the money it lost would be subtracted from the profits of "Stalag 17". 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 »
Billy Wilder should not call this powerful whiff of the journalism world "The runt" of his cinematic litter!
Billy Wilder's first commercial failure, but one of his best films, almost up there with "Sunset Blvd." Ambitious reporter Chuck Tatum (Kirk Douglas) finds out a man is trapped in a collapsed mine. By spewing out bogus engineering, he manages the rescue of the poor man to become more complicated, and time consuming then needed. Meanwhile, it becomes an amazing news item, something that makes Tatum the best known reporter in the country. However, everybody's luck runs out at the end. Perhaps the cause of failure of this film is that there are no sympathetic characters here. Douglas plays a total creep, the trapped man's wife is a floozy "I'm not going to pray for him! Praying ruins my nylons!" in the film. Even the trapped man is somebody who was poking around Indian graves. The screenplay, and the lead performances are top class. The extensive location photography, and somewhat documentary look of the film makes the film feel more modern than most 1951 films. Billy Wilder calls this film "the runt of his litter" Don't be so harsh, Billy, it's an excellent picture!
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