The Big Knife (1955)

User Rating:

7.0/10   

Director:

Robert Aldrich

Writers:

Clifford Odets (play)
James Poe (adapted for the screen by)

Release Date:

25 November 1955 (USA)

Genre:

Drama | Film-Noir

Plot:

Charles Castle is a successful Hollywood actor who has opted for screen success over art. He must make critical decisions regarding his career...

Plot Keywords:

Hollywood | Actor | Marriage | Husband Wife Relationship | Actor's Life

Awards:

1 win & 1 nomination

Cast

Jack Palance	...	Charles Castle
Ida Lupino	...	Marion Castle
Wendell Corey	...	Smiley Coy
Jean Hagen	...	Connie Bliss
Rod Steiger	...	Stanley Shriner Hoff
Shelley Winters	...	Dixie Evans
Ilka Chase	...	Patty Benedict
Everett Sloane	...	Nat Danziger
Wesley Addy	...	Horatio "Hank" Teagle
Paul Langton	...	Buddy Bliss
Nick Dennis	...	Mickey Feeney
Bill Walker	...	Russell
Michael Winkelman	...	Billy Castle (as Mike Winkelman)

Runtime:

111 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

West Germany:16 (f) | Finland:K-16 | Sweden:15

Filming Locations:

Sutherland Studios, Los Angeles, California, USA

Company:

Associates & Aldrich Company, The

Trivia:

Burt Lancaster turned down the role of Charles Castle.

Goofs:

Crew or equipment visible: The camera and operator are visibly reflected in one scene in the living room.

Quotes:

Charlie Castle: Am I the worst oaf in the world?
Marion Castle: The world's a big place. You're the worst one in my life.

Movie Connections:

Featured in The Best of Film Noir (1999) (V)

Overwritten and overacted -- what's not to like

"The Big Knife" is really a stage play recorded on film. It's a Hollywood soap opera that features a lot of good actors eating the scenery. Rod Steiger and Everett Sloan are great as the monstrous studio honcho and weaselly agent, respectively. Jack Palance is a competent actor but was woefully miscast as the sensitive, tortured matinée idol -- nobody would ever confuse Palance with a matinée idol. Nevertheless, he does an adequate job.

The power of the studio system in the '50s is well depicted, if a bit overwrought. Steiger's performance is particularly delicious as his toweringly self-centered character cries, wheedles, and intimidates his underlings into doing what he wants.

The movie is showing its age but its excesses, especially its colorful language, are a lot of fun. Recommended, 7 out of 10.