Tuesday, February 19, 2008
Ace in the Hole
While watching Ace in the Hole I both see the genius in the film making and understand why it did poorly with audiences in 1951. This is an amazingly cynical film. Outside of the Leo Minosa, who is stuck in the hole, and a couple of characters no one escapes Wilder’s wrath. Everyone is to blame: the opportunistic press, corrupt law, money hungry wife, and thrill seeking public. While he has certainly made a film that was well ahead of its time, and thus holds up well today, that makes it no less difficult to watch.
Wilder has made a film that is technically sound as any of his films. It is well written and well edited to drive a film that becomes painfully obvious that all will not end well. Kirk Douglas gives a career performance as Chuck Tatum, the man behind the strings. He is helped by a very strong supporting cast with standouts being Jan Sterling, Porter Hall, & Ray Teal as the victim’s wife, Albuquerque newspaper boss, and sheriff respectively.
Wilder certainly was able to see into the future. The term "media-circus" is now well known. With stories such as Princess Diana and Britney Spears the public has no problem believing that the press will perpetrate and become involved in the actual story. Many of the things shown in the film have happened many times. Recent media events have spawned both fly-by-night novelty songs and support businesses that pop up to deal with the huge crowds. Though I have to admit an actual carnival is a bit much.
But this film does have its faults. There is nothing subtle about this film. Wilder, much like Chuck Tatum in the film, paints himself into a corner and has a difficult time ending things. I’m also unsure what to make of Tatum’s change at the end. It’s hard to accept that he is now becoming human only to sacrifice himself to martyrdom.
A very good Wilder film but not a masterpiece like both Double Indemnity and Sunset Blvd.
Guardian 1,000: 665 seen, 334 remaining.
Wilder has made a film that is technically sound as any of his films. It is well written and well edited to drive a film that becomes painfully obvious that all will not end well. Kirk Douglas gives a career performance as Chuck Tatum, the man behind the strings. He is helped by a very strong supporting cast with standouts being Jan Sterling, Porter Hall, & Ray Teal as the victim’s wife, Albuquerque newspaper boss, and sheriff respectively.
Wilder certainly was able to see into the future. The term "media-circus" is now well known. With stories such as Princess Diana and Britney Spears the public has no problem believing that the press will perpetrate and become involved in the actual story. Many of the things shown in the film have happened many times. Recent media events have spawned both fly-by-night novelty songs and support businesses that pop up to deal with the huge crowds. Though I have to admit an actual carnival is a bit much.
But this film does have its faults. There is nothing subtle about this film. Wilder, much like Chuck Tatum in the film, paints himself into a corner and has a difficult time ending things. I’m also unsure what to make of Tatum’s change at the end. It’s hard to accept that he is now becoming human only to sacrifice himself to martyrdom.
A very good Wilder film but not a masterpiece like both Double Indemnity and Sunset Blvd.
Guardian 1,000: 665 seen, 334 remaining.
Labels: Criterion, FilmReview, Guardian1000
# posted by ChrisR @ 11:00 PM 
