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Three men, reared together in New Orleans, but whose paths have drifted apart, each face a crisis during the last weekend of Mardi Gras: Dr. Jason Kent must decide between accepting a chance to become famous as a research scientist, which will mean leaving New Orleans and giving up the girl he loves, Susan Corvier, or staying in his father's practice among the poor; Father Victor Carducci is refused permission to open an independent clinic and is thinking of leaving the Church; Punch-drunk prizefighter Joe Piavi is mainly operating in a survival mode and is trying to collect $1500 owed to him by his former manager Mike Hennighan. When he finds out about the debt, brash reporter Danny Farber, not above a double-cross when it means gain for him, needles Hennighan about Joe, and then tells Joe that Henninghan is threatening to send him to an asylum. The paths of Jason, Father Carducci and J! Written by
Les Adams <firstname.lastname@example.org>
This belongs to a small and select group of movies. These are the big-studio movies with known performers that are, nevertheless, absolutely awful. Another in this category is "The Guilt Of Janet Ames," which is at least more amusingly terrible.
Maybe Gig Young wanted to play an idealistic tough-guy doctor. Maybe Keenan Wynn wanted to show his chops playing a down-and-out fighter battling blindness. Someone must have had a reason of some sort for casting them in these roles.
The story about three boyhood friends takes place in New Orleans; yet many of the players, Wynn most noticeably, affect heavy Bronx accents. (The third friend is a Roman Catholic priest. His part seems to have been trimmed to almost nothing in the print I saw.)
Wynn seems to be wearing contact lenses that make his pupils appear cloudy. His performance isn't bad, really, but he is cast against type and in a one-dimensional role. It's a no-win situation. As is the whole movie.
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