Der Windhund und die Lady

This is all about getting advertising business up to your neck and getting fed up with it, and this was even before the television commercials took over the field and drowning it in rot, which it has been doing ever since. There are excellent actors and splendid wit and dialog all the way that keeps moving on a constant race, so as an entertainment this is an ace of a film. Deborah Kerr and Ava Gardner are both relatively young here and doing their very best for their adorable Clark Gable, who is always good and never made a bad film. To this comes Adolphe Menjou, Edward Arnold and Sydney Greenstreet to cap it all as the established monster of commercialism. It is both a comedy, satire and romance, the direction is splendid as is the music, so there is nothing missing. The problem remains today and is more abhorrently omnipresent than ever in all society, so even such a brilliant film as this did not help no matter how much it made a full hit at the problem.

The Hucksters, a really good film about the advertising game, became instantly dated almost from its release. A new box with both voices and pictures was invading American living rooms in 1947 just around the time this fine film was released. So a film about advertising for the radio became immediately dated.

The situations and the ethics involved in those situations however are still as real today as they were post World War II.

Clark Gable who had done three years service in World War II brings just the right dimension to the character of Vic Norman who is anxious to restart his career in the advertising game. But also having been fighting against tyranny overseas, you know it's only a matter of time before he and Sydney Greenstreet clash head on.

I don't know what deal Louis B. Mayer made with Jack Warner to get Greenstreet over to MGM for his part as Evan Llewellyn Evans the soap king, but it was well worth it. Next to his movie debut as Casper Guttman, this is Greenstreet's best moment on screen. Greenstreet is the sadistic tyrannical head of a soap manufacturing firm who delights in making everyone jump at his slightest whim.

The one who jumps the highest is Adolphe Menjou. This is also one of Menjou's finest roles as Kimberley the head of the agency that has Greenstreet's account and where Gable wants to work. Menjou is one ulcer driven man who started his agency with Greenstreet's account and has now worked himself into virtual slavery for the big money Greenstreet pays him. Menjou is quite an object lesson for where you could go wrong in the advertising game.

Both Deborah Kerr and Ava Gardner are in this film as Gable's love interests. This was Kerr's first American film and she basically set her image of refinement in this film. She's the English widow of an American general from World War II and Gable meets her by trying to sell her on endorsing Greenstreet's soap.

This was Ava Gardner's first big role in a major film and even with a dubbed voice for singing, she's just fine as the nightclub singer who's got a big old thing for Clark Gable. This was the first of three films she did with Gable, besides Lone Star and Mogambo. Their chemistry is pluperfect.

One of Greenstreet's whims is getting a radio show for a second rate burlesque comedian played by Keenan Wynn. Wynn himself has an interesting part. He's a second rate talent at best and you can see he really knows it. Yet he bluffs his way through life with a certain braggadocio which is charming in its own way.

And Wynn isn't so totally offbase with his dream either. Five years before Buck Privates hit the screen, second rate burlesque comedians were what you would have described Abbott and Costello. Why shouldn't Keenan Wynn dream of their kind of success.

Whenever I watch The Hucksters I'm reminded of Bewitched. Remember that Darren Stevens is also in the advertising game and half the plots of that show involved him dealing with a difficult client and Samantha working things out with a bit of nose magic. What was Bewitched in fact, but witchcraft and advertising.

I'm sure dealing with Greenstreet, Gable wished that either Kerr or Gardner had a little nose twitch magic that he could have used with the soap king. Failing that he has to take a direct approach.

And that folks, is something to sit through this very fine film to see.

Clark Gable is in good form playing an advertising ace, unemployed after spending the last four years in the Army, talking his way into a top Wall Street radio and print agency and landing the company's biggest account: Beautee Soap, run by a despicable, disrespectful tyrant. Sydney Greenstreet is the spitting, bug-eyed soap czar who keeps all his yes-men clucking like frightened geese, and his scenes around the conference table very nearly go over the top (but their payoff is in the finale); Deborah Kerr is a glamorous war widow whom Gable chases; and young Ava Gardner is well-cast as a nightclub singer--and Gable's rebound girl after Kerr plays tough-to-get. It's a slick, handsome piece of refined goods, not satiric as one might expect, though not quite stuffy, either. There are leisurely laughs, a cute sequence with Gable and Gardner on the train to Hollywood, and a satisfying wrap-up. If the picture doesn't exactly deliver fireworks, it does gives us Gable nicely contemplative, blowing kisses at the girls while at the same time re-examining his place in the work force. **1/2 from ****

Gable's a commanding presence and appears in about every scene. His ad-man character Victor Norman is none too likable, but that's the way it should be, given the shark tank he's swimming in. I found the first part rather tedious as Victor bounces around socially and professionally to no particular purpose. The second part, however, picks up noticeably as the plot thickens. Vic's a self-assured man looking to make big money in advertising, but has his own uncompromising ideas on what sells. Thus, he's either a man of principle capable of better values, or a mercenary man who will only reluctantly sell out. Which of the two wins out emerges as the plot's crux.

Of course, being Gable he has to have an active love life, and that means deciding between the gentile Kay (Kerr) or the vibrant Jean (Gardner). Frankly, Kerr's given a basically one- dimensional role that doesn't hold much interest. I can see why she was afraid Gardner would steal the picture (IMDB). The movie's satirical part emerges with Greenstreet's portrayal of the caricatured soap kingpin Evan Evans. He presides over Beautee Soap's advertising interests like a gelatinous cretin, spitting on the table, tossing hats out the window, and dumping water on hapless underlings. It's here that the film makes a jolting statement about the industry, given Evans' unchallenged authority. At the same time, a reckoning between him and Gable's Norman shapes up as inevitable. All in all, the movie stands now as something of a curiosity, with lessons about commercialism that I expect still stand, whether radio, TV, or internet streaming.

Very underrated. Not well known. Not shown often. Actually, this is the first time I came across this gem. Loved it, loved Clark Gable, loved Deborah Kerr.

Clark was just adorable when he was talking to the women he was attracted to. The twinkle in his eye and kiss on his lips as he spoke on the phone to the previous night's paramour in his first scene was priceless. I fell in love with him AGAIN! I never realized the vastness of his facial expressions before. He looked serious and business-like when he was dealing with his advertising cronies and looked charming, fun loving and caring when he was "off he clock".

There was no one more elegant, classy and sexy as Deborah Kerr. Nominated for 6 Best Actress in a Leading Role Academy Awards but never winning, remarkable.

Ava Gardner always a sultry beauty, her quick, sharp dialog showed the high level of good script writing.

The film showed the falseness, conniving and corrupt side of advertising vs. personal integrity, ethical behavior and morality. Good life lesson film of the time rings true today, for me at least.

This has become a NEW personal favorite.