Der große Schwindler

Mickey Rooney generally not one of my fave actors is utterly riveting as the cocky, vicious corrupt union boss. Great storyline a film where you don't even want to blink & miss what the hell's gonna happen next. Tho in a non speaking role Ray Danton is chilling as a hitman he leaves you in no doubt he's a psycho that kills for kicks. The following year he played the title role in the excellent Rise & Fall of Legs Diamond & was superb in that. A very underrated movie well worth seeing.

Modestly budgeted but surprisingly entertaining crime drama, with Mickey Rooney as a Jimmy Hoffa-style union boss ready to resort to gangland methods when a couple of honest union men see him in the company of a known gangster the night that a witness against Rooney in an upcoming crime investigation goes missing.

This film has a nice jazzy musical score, and some unexpected casting. Rooney is effective with an in-your-face performance as the ruthless union president. But equally effective, and a nice change of pace casting for him, too, is Steve Cochran, normally a screen tough guy, here playing a soft spoken decent family man who crosses paths with Rooney. Ray Danton is a cold blooded hood working for the union boss who not only throws someone into a cement mixer but sets another person on fire after dumping him out of a car.

Vampira, pretty much unrecognizable without her Vampira makeup, is a woman running a beatnik club, Mel Torme plays Cochran's fiery natured friend (Mel's not bad), and, the most unusual casting of all is, ready for this, Mamie Van Doren in a subdued performance as Cochran's homemaker wife. She still looks like bleached blonde Mamie, of course, but she's not half bad. Mamie as Donna Reed? See it to believe it.

The film has a protracted sequence is which Cochran, who is ready to give testimony against Rooney, is kidnapped and Rooney has goons working him over (Leo Gordon being one of them, yikes!) to try to get him to change his testimony. When Cochran refuses to cooperate, Rooney then resorts to nastier means to get his way.

This violent gangster thriller shows how fast pacing can succeed in building tension despite several implausibilities in plotting and characterization. Mickey Rooney shows he could play a thoroughly nasty individual, but his Joe Braun comes over as little more than a caricature. Several incidents strain credibility, not least when one man is seen going up in flames, and is presumably killed, only to emerge later wearing a few strips of sticking plaster but otherwise OK. Despite these faults, the film remains eminently watchable. Steve Cochran gives one of the better performances as the hero.

In 1959 the year The Big Operator came out the labor racketeering Senate hearings were occupying a lot of the televised news that year. Senator John F. Kennedy's presence got a lot of television exposure that year via the McClellan hearings into organized crime, not to mention his brother Robert F. Kennedy was the counsel for those hearings and first came into contact with Jimmy Hoffa.

Hoffa by all accounts was as nasty and pugnacious as Mickey Rooney as Little Joe Braun. And the Kennedy brothers would have told you he was as capable the deadly things he is as the head of a local of machinists here. Rooney's character is clearly based on Jimmy Hoffa. Hoffa was as short as Mickey Rooney in real life.

After constant badgering by committee counsel Peter Leeds as Rooney continually pleads the 5th amendment Rooney is tricked into saying he doesn't know contract killer Ray Danton who works for him. The only problem is that a couple of honest union members, Steve Cochran and Mel Torme saw the two of them outside Rooney's office. What to do?

What to do includes arson and kidnapping, setting Torme on fire and kidnapping Jay North who is Cochran's son. Not to mention beating up a blindfolded Cochran and telling him to lie before the committee if he wants to see his son alive again.

Mickey Rooney shows his considerable range as an actor in this film and it's nice to see Cochran as a good guy for a change. The film has one jarring note though all those who saw this in theater back in 1959 wouldn't agree. Mamie Van Doren gives a subdued performance as Cochran's wife and North's mother. But she's still the glamorous Mamie Van Doren, a poor man's Marilyn Monroe. Back when I was 12 when this came out I don't remember seeing any mothers who looked like that. No doubt she had everyone's hormones in a rage.

The Big Operator which also has a nice jazz score is a good snapshot of the times.

At five feet two inches, Mickey Rooney must have been Hollywood's smallest big operator. The words arrogant, deceitful and bigoted barely scratch the surface of this thoroughly odious character, immersed to the eyeballs in union corruption, underhand dealings and with a misguided view that anyone can be bought at the right price or, if necessary, with sufficient muscle, but not his!

He receives a mixed reception in addressing a blue collar meeting with a bumptious delivery of bad jokes and even worse puns, but his mood changes upon recognizing two individuals (Steve Cochran and Mel Torme), who could potentially identify him for his tawdry activities. In attempting to buy them off, Rooney encounters two insurmountable and previously alien obstacles: decency and integrity. Cochran, the diligent salt of the earth, family man, coolly dismisses him, whilst the more animated, vocal Torme sees red, (years before Zaz turned blue). Rooney's escalating exasperation with each must have driven his blood pressure off the scale, but at least the script writers offered some clemency, lightening his load, by allowing him to repeat the line, "I refuse to answer that question on the grounds of the Fifth Amendment" ad nauseam.

Kidnapping, torture, bullying picketts, the constant sense of threat, which results in Torme being burned on the same day he narrowly avoided being fired. This 'I'm Alright Jack' without the laughs turns surprisingly brutal, orchestrated by the mob heavy, safety in numbers clan, but curiously offset by an extravagant punch-up, rooted as much in comedy western as film noir.

Not exceptional, but a solid, grounded engaging statement on some of the salient issues of the time. Ultimately projecting an ethos of resisting violence and villainy every bit as pertinent today.