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.
Stanton Carlisle is an ambitious carnie who plays scams alongside phony mentalist Zeena and her alcoholic husband Pete, working the crowd as Zeena pretends to read their minds. But Stan has... See full summary »
In New York, after seven years in prison, the lawyer Max Monetti goes to the bank of his brothers Joe, Tony and Pietro Monetti and promises revenge to them. Then he visits his lover Irene ... See full summary »
Joseph L. Mankiewicz
Edward G. Robinson,
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 <firstname.lastname@example.org>
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, Billy Wilder's next picture Stalag 17 was a hit and Billy Wilder expected a share of the Stalag 17'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 »
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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