Reite auf dem rosa Pferd

I saw this film when I was a young boy when it first came out in 1947 but didn't truly appreciate it till I saw it on TCM the other night again. I agree with all your commentators as to its enigmatic mystery and its possible shortfalls attributable to Montgomery vis a vis Bogart. I found the dialogue and the monologues gripping. In later looking this movie up here I discovered why: the script was by Ben Hecht (of Front Page fame). No wonder it was so great. As many of your commentators point out (and very perceptively too) the individual performances of Gomez, Hendrix, Clark, etc. were all splendid, not to forget Montgomery himself. But TCM must have edited the film or else I fell asleep watching it: I definitely did not see Gomez being beaten up by anyone while being watched by uncomprehending children. That part was definitely not in the version that I watched, sad to say. One of the strongest parts of the film was the disillusionment and cynicism expressed by the Montgomery character against patriotism, and WWII and its profiteers in typical film-noir fashion. Also strikingly evocative and disturbing was the final scene in which the innocent-appearing and passive Hendrix character finally opens up to her friends and re-enacts the events of the film in a vivacious and cynical way to show her friends how sophisticated she is after all. What a dash of cold water in the face of those who expected a romantic ending between two such repressed characters who made a specialty out of never showing their emotions. A great, great movie.

When a bus arrives in San Pablo, the mysterious American Lucky Gagin (Robert Montgomery) looks for the La Fonda Hotel and he meets the local Pila (Wanda Hendrix) that offers to take him there. Gagin is a tough man and army veteran and he seeks out a man called Frank Hugo (Fred Clark) and he learns that he will be back to his room only on the next day. Gagin stumbles upon FBI Agent Bill Retz (Art Smith), who is chasing the powerful mobster Frank Hugo, and he warns Gagin to forget his scheme for revenging his friend Shorty that was murdered by Frank. Then Gagin looks for a hotel room and he goes to the Bar Tres Violetas, where he befriends the owner of carousel called Pancho (Thomas Gomez) and he buys drinks for his friends in the bar. Pancho offers a place to Gagin to spend the night. On the next morning, Gagin goes to the hotel and meets Frank Hugo. He blackmails the mobster, asking for 30,000 dollars to give a check that incriminates him. Frank Hugo accepts the deal and tell that the money will be available only at 7:00 PM. Will Gagin succeed in his extortion of money from Frank?

"Ride the Pink Horse" is a different film-noir directed by Robert Montgomery, who is also the lead actor. His bitter and unpleasant character is well-developed as a war veteran disillusioned with the post-war life since his lover is unfaithful and his best friend was murdered by a mobster. Wanda Hendrix performs a weird character, maltreated by Gagin but following him like a puppy. But the plot is a good story of friendship. My vote is seven.

Title (Brazil): "Do Lodo Brotou Uma Flor" ("From the Mud Sprouted a Flower")

From the film's opening scene, which shows the protagonist, Lucky Gagin, emerging from a bus into a dusty Mexican town, the viewer is hooked. There are so many good things about this film, primarily the acting performances -- Robert Montgomery is a standout, as are Wanda Hendrix, Fred Clark, Thomas Gomez, and Art Smith. They each completely occupy their characters and make them come to life. Another highlight is the dialogue -- there are numerous memorable exchanges between Montgomery and Hendrix, and Clark delivers two especially well-written diatribes that serve to solidify his character in the consciousness. The story itself is quite simple, and is driven far more by characterization than by plot, but that is what makes the film so good. The film also contains its share of classically dark noir imagery -- most memorable is the scene in which the Gomez character is savagely beaten by two hoods while a group of neighborhood children sail along on the nearby merry-go-round, at first gaily enjoying the free ride but growing increasingly somber and afraid as they witness the brutal attack. This one is a definite must-see, particularly for film noir buffs, but also for film lovers of all types.

In one of a couple of films done at Universal starring Montgomery that are hard to find. Ex-solider Lucky Gagin (Robert Montgomery) arrives in the little southwestern town of San Pablo during a hectic fiesta weekend. He's come here seeking revenge against the man he holds responsible for his friend's death. But his quest may be derailed by one of the motley assortment of characters he meets: scheming federal agent Retz (Art Smith, spooky-eyed young Mexican girl Pilar (Wanda Hendrix), and boisterous carousel operator Pancho (Thomas Gomez), among others.

Montgomery does a very good job in both the directing and acting departments. The film showcases several stylish flourishes, and maintains an evocative, "stranger in a strange land" aura of uncertainty and mild paranoia. His performance as the plainspoken Gagin is also a nice stretch from his usual smooth charmer. He's blunt, occasionally rude, maybe not the sharpest guy in the room, but cunning enough to be a threat to those he targets.

The movie takes an unexpected turn in the last third which helps set it apart from the other crime pictures of the period, but in my opinion it weakened the resolution a bit. I liked Hendrix, and Gomez is affable in a character type he would go on to play several times in the future. Fred Clark, as a crime boss, and Art Smith as the fed, are unusual casting choices that work. The movie earned an Oscar nomination for Best Supporting Actor for Thomas Gomez.

Not quite sure what to make of this one, but definitely interesting. One is never certain if its strangeness is due to inexperience on the part of the film-makers, or if it truly is an unambiguous artistic choice. The director and star, Robert Montgomery, was very much a creature of 1930's pre-war Hollywood and the film seems to be an unconscious attempt to transplant pre-war film-making sensibilities into the decidedly post-war genre of Film-Noir, with all of its fatalism, disillusionment and complications. It's as if Montgomery is an alien from the 30's exploring a strange, post-war Noir world; rejoicing and experimenting in this permissive new environment, but ever aware that he is not a native. (Though it's highly unlikely this idea ever occurred to him in such a concrete way, as this genre was not identified as such until French critics of the 1960's uncovered a new pattern in American films dealing with crime.)

There's much here that I, quite frankly, didn't understand. You never really get a handle on any of the characters or what their true motivations are; they're all tantalizingly enigmatic, opaque, but that is admittedly much of the joy of the picture. Everyone seems to be suffering from some kind of guilt that they just don't seem quite able to articulate, much less expiate, so they keep muddling along hoping that they'll stumble across an answer or justification for their sins. The villain of the piece, Fred Clark, is odd. He doesn't just want to trick Montgomery out of the money he's blackmailing him for, he wants to shame him for not being smart and demanding more. Montgomery is mighty odd as well, with some kind of a stubborn, indecipherable personal code of honor; sort of a dumbed down Sam Spade. He's trying to carve out some little island of corruption just for himself, stiff-arming both sides of the law in the process. Most peculiar is the little peasant girl played by Wanda Hendrix. She is instantly devoted to Montgomery, lovingly helps him out of a couple jams but at the end after they say goodbye, she makes some little speech to her friends in Spanish (w.o. subtitles) that gives the impression she was never as innocent as she let on. But what did she gain? And Art Smith (a good crafty little character actor who keeps turning up and making an impression in a lot of films I've been seeing like "Brute Force", "The Next Voice You Hear" and "In A Lonely Place") is an FBI agent who is more like Montgomery's guardian angel. He is almost God-like in how he can pinpoint the exact motivation behind Montgomery's every move and thought.

All these actors are fine, but Thomas Gomez steals every scene he's in as the deceptively heroic operator of the merry-go-round. He is involved in the film's most brutal and poignant scene, as he is beat up by a couple of Clark's thugs (as the children watch captively on the spinning carousel) for refusing to reveal his friend Montgomery's whereabouts. And I love his great line when Montgomery stumbles back for help after getting stabbed in a fight. He shrugs wearily and says "when you're young everyone sticks knife in you."

I couldn't for the life of me figure out why the movie would be called "Ride the Pink Horse", but I like the other reviewer's theory that it has to do with the arbitrary nature of life itself. A definite cult item.