Zwei dreckige Halunken

A unique combination of a western and an existentialist black comedy.

The two foils are Kirk Douglas as a cunning and charming prisoner, and Henry Fonda as his steady and observant warden. They match wits within a teeming ecology of interesting characters. Burgess Meredith is the heart of the ensemble and provides several poignant moments: the bath scene and his reaction to a shooting are unforgettable.

You'll either hate or love the way "A Crooked Man" subverts the conventions of the genre. The tone of the movie is purposefully inconsistent. One moment, it's sympathetic and moving. The next it's cold and nihilistic. The humor is particularly unique for how it brings slapstick and abstraction together. Consider the way Ah-ping meets his end, or the film's obvious disingenuous portrayal of the schoolteacher's fate. Behind these profoundly idiotic scenes is something profound. One caveat: a pointless and homophobic subplot mars this otherwise perfect film.

"A Crooked Man" will be a real treat for those who like films that leave the well-beaten path.

Terrific mix of comedy/western/prison film about clever thief Kirk Douglas who lands himself in jail after robbing a rich man of $500,000 which he's hidden in a mountain. Honest, forthright sheriff Henry Fonda becomes warden of the jail with the intent on reforming the prisoners not punishing them. Kirk Douglas must plan his escape with the help of some colorful prisoners by bribing them. Very underrated and overlooked gem of the 70's wonderfully directed by Academy Award winning director Joseph L. Mankiewicz. Full of humor, excitement, and entertainment. Cynical and funny script has some great twists and the cast is perfect.

***1/2 out of ****

This is One of Director Mankiewicz's most Divisive Films.

The 4-Time Oscar Winner seemed to Discover the Absence of the "Motion Picture Code" and Embraced the Freedom with this Multi-Toned, Star-Studded Western.

His First Western Ever is a Romping, Head-Snapping, Cynical to the End Look at the "Lighter" Side of Rape, Murder, Robbery, the Penal System, and More.

The Movie is so Odd it is Jaw-Dropping at Times.

The Cast from Top to Bottom all Join in on the "Fun".

The Film Appealed, and still does, to the Post-Modern Audience and Film-School Generation where "Revisionist" is Not a Bad Thing.

Because Nothing On-Screen is Traditional, Especially the Tone, that the Studio-System, where the Director, Henry Fonda, and Kirk Douglas Earned Their Bona-Fides.

This Probably Paved the Way for Great Films Like Mel Brooks""Blazing Saddles" (1974).

The Strange Goings-On in this Love it or Hate it Film, was Probably Shocking to Western Fans and Stalwart Studio-Film Fans.

But that Unfortunate Ride of Full-Control was Over. This was the Dawning of the Age of the Independent Film and Independent Authorship.

For those Willing to "Walk on the Wild Side" of Westerns...

Worth a Watch

Not for Everyone.

There is so much to like and appreciate about this film that while it's an enjoyable experience, it isn't the great film it should have been.

Firstly, the script is largely excellent. It has a good plot and characters backed up by interesting dialogue. It has a top-notch cast delivering almost universally quality performances. As well, it has some interesting themes and issues to explore, especially in the central battle between Fonda's warden and Douglas' prisoner. The scene where Douglas confronts Fonda in the just built eating hall and exposes his self-serving interests and hypocrisy, is a great example of top-class screen writing.

All the elements are there for a classic (or at least semi-classic) Western, but it doesn't quite reach that. Why? I think a big problem for this is Joseph L. Mankiewicz's direction. As other users have commented, the tone of the film is jerky and erratic and he has to take prime blame for that. But even in pure cinematic terms, it isn't well directed. Scenes that should have been highlights (such as the robbery that opens the film) lack punch because they're ineptly handled.

I think another major problem is the cinematography. The glossy, bright and flashy look of TWACM seems more in tune for a jovial, knockabout, straightforward Western. For a film full of cynicism, complexity (as well as its share of humour) and some rather depressing elements, it's a distracting and misjudged look. The much more realistic style that was to become much more common in films as the 1970s progressed (e.g. 'McCabe and Mrs. Miller') would have been much more apt.

Overall, an under-appreciated and underrated film worth seeking out. But also a bit of a missed opportunity.

My commentary refers to minor elements of the plot of the film in question, revealing, to an inconsequential extent, some of the events of the movie. Some may interpret this as a SPOILER, but I am very careful not to expose anything specific crucial.

Similar to "Paint Your Wagon" (1969) in it's use of a comedic western as a vehicle for social commentary, "There Was a Crooked Man" has a comic tone at times, but has difficulty being consistently one kind of movie: Is it a satire? Is it a comedy? Is it a bawdy western with a serious disguise? Is it a social commentary about the penal system? Is it an arc for Fonda's upright and uptight sheriff to find disillusionment?

Kirk Douglas portrays a robber who will sacrifice anyone and anything to get the loot and come out on top, while Henry Fonda is a town sheriff who seems the exact opposite of Douglas, and who specializes in moral correctness. While attempting to practice what he preaches, kindness before cruelty, Fonda is shot apprehending a drunken Warren Oates. The town quickly and easily gives up hope in Fonda's ability to do his job, leading Fonda to volunteer as warden for the prison where both Douglas and Oates are incarcerated.

Fonda begins a crusade to uplift the inmates of this desolate Arizona penal colony by abolishing obligatory hard labor and restricting cruel punishments upon the men. It seems the only way to earn Fonda's enmity as warden is to draw lascivious pictures of scantily clad women, as all other crimes are forgivable and reformable in Fonda' eyes.

While Fonda is trying to teach the prisoners self-respect, Douglas is luring them into his aid with promises of sharing the money he stole in the crime for which he was convicted and sentenced to the prison. Those he can't persuade he tricks into helping him by various plots and devices, all the while Fonda thinks Douglas should become the prisoners' leader and help give them hope by improving their living conditions. Burgess Meredith frequently steals the spotlight as a former flashy train robber that has been transformed by years in prison into a tired, gritty, petty old man who does nothing for free.

The problem with this movie is not the excellent acting, but the tone and the Mickey Mouse musical score. It deals with murder and betrayal carelessly, it refers to revenge and cruelty with humor, and it moves back and forth from serious to light-hearted scenes so quickly and easily that it becomes difficult to maintain any clear perspective. In the middle of a murderous rampage an (apparently) hilarious food fight ensues while a buxom visitor to the prison is gradually, but incompletely, disrobed.

Unlike other satires released that year such as "Catch-22" (1970) or "M.A.S.H." (1970), "There Was a Crooked Man" doesn't succeed in delivering a message, but only appears to chronicle an improbable series of events that have no meaning outside of itself, all the while the most irritating and thematically contrary music imaginable scores nearly every scene.

Despite good acting and some laughs, it's a tough film to recommend. If there was a DVD version that allowed you to keep the dialog and eradicate the music, this would be a totally different, and much improved, movie.