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Ace in the Hole continues the barbed satire of Sunset Blvd. in a different medium. Chuck Tatum (Kirk Douglas) has a mind for the news, the immediacy and the disposability of it. He's been burnt out by the system and his vices numerous times, and finds himself on the rebound in a dead-end job for a small newspaper, in a small New Mexico town where nothing beneficial to his reputation happens. The buying public doesn't want to read about community functions, they want to be frighteningly allured by larger-than-life tragedy. Tatum and his young protege/groupie Herbie (Robert Arthur) stumble upon the opportune moment as Leo Minosa (Richard Benedict), the owner of a trading post in Escudero has become trapped in a mine, said to be haunted by Indian spirits.

What Tatum immediately does is while under the guise of benevolence, he hooks himself into the situation, getting people to believe what they want to believe about their newfound friend, ascribing authority and control of the situation to him exclusively. The right people are willing to be compliant with his wishes, prolonging the moment while increasing the spectacle, as long as they are amply placated. Leo's wife Lorraine (Jan Sterling) is more reluctant for she sees through Tatum's charade, but she herself is willing to reap the benefits of the exploitation of her husband.

The competing press, while forced to siphon their information through Tatum, is more than willing to suckle the public with saccharine platitudes that ease their conscience while allowing them to be part of the adventure. One may find the disintegration of this media circus an inevitability of the human conscience, but in deed it's the public that is indicted for gullibility, their cheap sentiment, and narrow-minded, ravenous selfishness and avarice.

As cynical and distrustful in humanity the film is, Billy Wilder's script has splashes of dark humor, not unlike Double Indemnity, mocking the absurdity of the characters' dilemmas. Douglas's role is over-the-top, but very effective in portraying the short-fused, Tatum, destructively aggressive and loathing his conscience. Sterling is similarly striking as the femme fatale, distrusting, but ambitious, and willing to play the part for highest bidder. Other colorful characters include Ray Teal as the pandering Sheriff of Escudero, and Richard Gaines in a hilarious role as one of Tatum's former bosses in New York. While the cinematography of the New Mexico desert doesn't have the claustrophobia and glitz of Sunset Blvd, there are several craning shots of the monstrous reverie that encapsulate its absurdity as well as any dialogue. Ace in the Hole is another scathing satire from Wilder that is a must-see, whose influence can be seen in latter films such as Network and Wag the Dog.

What's rather unfortunate regarding Ace in the Hole is its treatment by the studio, rather interesting considering this was the first film Wilder made after the success of Sunset Blvd. The film was not a box office success, and the studio, without Billy Wilder's permission, changed the title to The Big Carnival in an effort to increase box office returns, unsuccessfully. (In fact, the print of the film I saw had the title listed as The Big Carnival.) Billy Wilder's next picture, Stalag 17 was a hit, and Billy Wilder expected a share of the profits. Paramount accountants told him that since this picture lost money, the money it lost would be subtracted from the profits of Stalag 17. Also unfortunately, there is no DVD release date in sight for Ace in the Hole, presumably due to legal issues.

Suzanne's Career -- 9

Ace in the Hole -- 7.5

My Night at Maud's -- 9.5

The Best Years of Our Lives -- 8

The Number 23 -- 3

RATING (0 to ****): ****

I'm sure it would surprise many that so-called "human interest" stories are less in the interest of the human involved, than it is with selling newspapers. Today, newspapers aren't nearly as big as, say, TV news or internet blogging, but Billy Wilder's cynical masterpiece "Ace in the Hole" is still frighteningly relevant today.

It also bombed at the box office and was panned by critics... almost all of the critics at the time, of course, working for newspapers. The film itself wound up in obscurity, and it's never been released on home video.

Until now. This July, you will finally get to see this important film, which before you had to set your VCRs for the all-too-rare airing. I don't guarantee it's a film you'll want to see more than once, but once is definitely a requirement.

Opening the film with very short titles, we cut straight to our lead character: Chuck Tatum, as played by Kirk Douglas. You'll love him in the first 10 minutes due to the humorously cynical lines he has to deliver. But once the situation is revealed- a man trapped in a cave, followed by a circus (media and literal)- there's no longer anything to laugh about. It must have been exceedingly rare to have a film in this era where you spent the whole time following around the villain, especially one as despicable as Tatum.

Wait, what am I saying? Everyone in this film is off for their own selfish gain even if by a little- all except the victim's father, mother, Tatum's initial editor and a clergyman. Wilder inserts some hints in the production design, when at the beginning the cave site is free to enter, the minute the cars stop by it's 25 cents. You'll see that figure a lot (hmm... surely nobody has heard of "charity songs" before), and you'll have a pretty negative opinion of it after the film is finished (unless you have some sort of built-in inflation calculator in your head). Our victim goes through a similar transformation- once he's aware that his first visitor, Tatum, is there for the media, he cleans his face off for a picture. Later on, however, his concerns are focused on his wife, who he continually confesses his love for. This is combined with images of sand pouring in the cave endlessly, and rocks tumbling over little by little- every scene you'll think there'll be a cave-in, and you really don't want it to happen... just like Tatum, but I'm sure you have other interests than his selling seven days' worth of newspapers. Not until "The Descent" would the cinema make cave-exploring so scary and unappealing.

If you don't find yourself hating Tatum, you'll definitely find yourself hating the wife, Lorraine, who only ever pretends to think of people other than herself. Throughout she's completely ungrateful and wants badly to run away with the money her shop is collecting next to the mine. Hate her enough, and the only reason why you'll think a manipulative slap from Tatum is brutal is because it came from a scumbag like him.

Now, a question:

What does a studio do when you have a film like this tank like this? Release it a couple years later under a new title! Thus, it was re-marketed as "The Big Carnival"- which may seem more lighthearted just by looking at the title, but in the context of the film itself, it's ironic because it's that much more cynical than it already is! "Ace in the Hole" is explained in a brief scene, but "The Big Carnival" is one of the big plot points; this just might be where the term "media circus" comes from. You have major media coverage... and your circus set up in the background.

But it's not really a cash-in if you have a big sign saying "All The Proceeds Going To The Rescue Fund", right?

A couple of inevitable twists soon happen, when things don't go as planned. With such gruesome characters, I expected only to be fascinated but never emotionally attached. But this is quite a powerful film, and when it becomes more available, I urge you all to see it.


MPAA: Not Rated (but could be PG)
Runtime: 1 hour, 51 minutes (110 minutes of "real movie")

Can I get a second opinion?

This film was recommended to me by an online friend, and it stands as his favorite underrated movie.

I'll be sure to post what you have to say, once the Criterion edition is available for rent.

ACE IN THE HOLE
Directed by Billy Wilder
Stars Kirk Douglas, Jan Sterling, Robert Arthur, Richard Benedict, Ray Teal
Not Rated

Chilling melodrama about a self-absorbed reporter who conspires to keep a trapped miner undground as long as he can so he can build a sensationalistic story around him for his own gain. The ensuing media circus threatens to take over the tiny New Me...(read more)xico town, and turns everyone involved into greedy opportunists. Especially unnerving given current events, Billy Wilder's powerful indictment of media sensationalism is just as potent today as it was in 1951.

.....

****/****

'Ace in the Hole' aka 'The Big Carnival'
Billy Wilder, 1951

Ace in the Hole (also known as The Big Carnival) was far ahead of its time. It is a critique of the media. As a result the critics of the era did not exactly welcome it with open arms, but it also results in a movie that feels like it is on the cutting edge over a half a century later.

Time is often the measure of a movie. Some fall apart at the seams years later while others seem to just get better with time. Ace in the Hole was always good. It just wasn't as well received at the time of its initial release. Ironically, the critics of the time apparently perceived it as an attack on the idea of a free press, when really it is more accurately described as a movie meant to support the free press and denounce those who abuse the system in place in America. This movie seems to have just improved with time and some could argue that it is more relevant now then ever.

Kirk Douglas plays a reporter who is the picture of confidence and charisma. He is brash and bold and unappologetic. He speaks his mind and is willing to take chances. He finds himself in a small town swindling his way into a job at a newspaper known for covering pine wood derbys and snake hunts. Kirk Douglas, as Charles Tatum, has grander schemes however and when a man gets trapped in a mine looking for Native American artifacts and knick knacks, Tatum decides he has the recipe for success after a long career of failures and firings and he seizes it.

Through smooth talking, and charisma he is able to employ the services of the local law enforcement to help him monopolize the story and turn it into a national event. He not only reports the story but places himself as a central figure in the story and even manipulates the events as they unfold. Through the networking he has set up, Tatum soon finds himself in a position to be able to prolong the victims time in the cave, endangering his life, but extending the length of the story and consequently his prominence as a national figure.

Tatum's resourcefulness is a pleasure to watch. Kirk Douglass perfectly portrays a man swept up in the moment and desperate to use all of his talents and abilities to further his career.

The question is, will he endanger the life of this poor victim in order to elevate his own career?

Powerful film, extremely well acted, especially by Kirk Douglas and Jan Sterling. The story is exaggerated a bit too much to make it's point, but the film is way ahead of it's time and things certainly haven't changed. Quite a remarkable story, expertly handled by Billy Wilder.