El gran carnaval

Unequivocally, Billy Wilder is one of the best writer-directors ever. His films not only entertained audiences but also provided incisive social commentary, as well as profound character studies. Known for his sharp wit, clever dialogue and ability to seamlessly traverse genres, he left an indelible mark on cinema. From 'Double Indemnity' and 'Sunset Boulevard', to 'Stalag 17', Wilder crafted stories that were both engaging and thought-provoking.

'Ace in the Hole' may be one of his best. A satirical noir, it follows journalist Charles Tatum, a jaded reporter with a tarnished career who lands a job at a small New Mexico newspaper. When he stumbles upon Leo, a man trapped in a cave while searching for Native American treasures, Tatum seizes the chance to revive his career by turning the rescue effort into a media circus. As Leo's situation becomes increasingly dire, the film explores themes of media sensationalism, ethical compromise and the human cost of ambition.

It is a seedy, beautifully written film, resonating on multiple levels. Wilder's screenplay- written alongside Lesser Samuels and Walter Newman- captures the essence of opportunism and moral decay in the face of disaster. Their narrative's stark portrayal of human frailty and the ethical compromises made for personal gain creates a gripping narrative that holds a mirror to society's darker inclinations. The characters are meticulously crafted, each representing a facet of moral ambiguity and the lengths people will go to in order to seize their moment of glory.

The protagonist, Tatum, is a complex anti-hero whose cynicism and ambition drive the story. His moral descent and eventual realization of his own corruption are emblematic of the film noir tradition. Meanwhile, Leo Minosa, the trapped man, is the innocent victim caught in the crossfire of media exploitation, his deteriorating condition highlighting the human cost of sensationalism.

Lorraine, Leo's wife, is opportunistically self-serving, her relationship with Tatum further emphasizing the film's theme of moral ambiguity. Moreover, the corrupt local sheriff, seeking re-election, becomes complicit in Tatum's schemes, illustrating the intersection of media manipulation and political ambition. Throughout, he plays with a rattlesnake in a box, teasing it, feeding it; keeping it alive for his own ends, like Tatum keeps Leo trapped in the cave.

Practically everyone in the picture seeks to gain by exploiting the trapped man's predicament. The film can thus be seen as a commentary on the commodification of tragedy, showcasing how jackals and vultures benefit from others' suffering. Moreover, the public's reaction to the cave-in is akin to attending a travelling carnival, satirizing the international obsession with real-life drama.

The area surrounding the cave literally becomes a circus, with Ferris-wheels turning and musicians singing, as Leo wastes away under the rubble. It is a spectacle of populist exploitation. In a modern context, mirroring our fascination with reality TV and docuseries. The reaction to Leo's plight in Wilder's film parallels the public's response to Netflix series like 'Making A Murderer' or 'Tiger King'. Whereas nowadays one can buy Joe Exotic t-shirts and tote-bags, in Leo's case one gathers outside his tomb with a hamburger and a coffee, like a scavenger awaiting scraps of carrion; awash in a voyeuristic frenzy, delighting in the extravaganza of someone else's despair.

Moreover, the dialogue is filled with deliciously pulpy lines like "I don't go to Church. Kneeling bags my nylons," crackling with noiresque cynicism. This sharp, biting wit is a hallmark of film noir, and the screenplay is peppered with memorable lines, reflecting the characters' jaded worldviews. The dialogue not only serves to entertain but also deepens Wilder's characterization, while enhancing the satirical tone.

On the technical front, Charles Lang's artful cinematography makes efficacious use of stark, high-contrasting lighting, while his utilization of shadows and confined spaces heightens the film's tension. He generates a palpable sense of entrapment through his dynamic camera movements and tight framing, conveying the claustrophobic atmosphere within the cave. This is juxtaposed with the bustling chaos of the circus above ground, creating a powerful contrast and enhancing the overall impact of the film. Lang's cinematography not only compounds the visual appeal of the film but also reinforces its thematic depth and emotional resonance.

In addition, Hugo Friedhofer's score heightens the dramatic tension, underscoring the emotional beats of the narrative. Ambient sounds of the carnival and the increasingly frantic rescue efforts add to the immersive experience, while highlighting the absurdity of the situation. Further, the set decoration and production design are meticulously detailed, grounding the narrative in a palpable reality.

Moreover, Edith Head's costume design plays a crucial role in defining the characters and their motivations. Tatum's routinely dishevelled appearance reflects his moral decay, while Lorraine's flashy, attention-seeking outfits symbolize her opportunistic nature. The sheriff's uniform exudes a false sense of integrity, masking his complicity in the exploitation of the tragedy. These visual details contribute to the film's overall critique of the human cost of ambition and media sensationalism.

Kirk Douglas stars as Tatum, delivering a powerful performance that ranks alongside his very best. Intense and charismatic, he perfectly captures Tatum's ambition and moral decline. Reminiscent of his frequent co-star Burt Lancaster's stellar performance as the eponymous 'Elmer Gantry': Douglas is unsettlingly captivating. His nuanced work ensures that Tatum remains a compelling, albeit deeply flawed, protagonist.

Jan Sterling is similarly good as the femme fatal Lorraine, a gusty broad with dreams of dollars. Sterling brings a blend of opportunism and vulnerability to the role, captivating Lorraine's survivalist instincts with aplomb. Her interactions with Douglas's Tatum are charged with tension and chemistry, highlighting the moral ambiguity and motivations of both characters.

In addition, Robert Arthur brings a believable naivety to the role of Cook, Tatum's accomplice. Ray Teal, as the corrupt Sheriff, captures the essence of a man willing to compromise his ethics for political gain, while Porter Hall does fine work as Tatum's editor, whose morality contrasts sharply with his subordinate's reckless ambition. All the rest- from Richard Benedict as Leo to Frank Cady as visitor to the site of despair- cannot be faulted.

In conclusion, 'Ace in the Hole' stands as one of Billy Wilder's most incisive works. Its biting satire and noir sensibilities offer a scathing critique of media sensationalism and the moral compromises made in the pursuit of fame and fortune. The film's expertly crafted narrative, coupled with strong performances, sharp dialogue and technical prowess, make it a compelling piece of cinema. In short, 'Ace in the Hole' is a winning hand.

"Ace In the Hole," which used to turn up on local TV as "The Big carnival," was far head of its time. It wasn't very successful and its cynicism shocked people.

Along comes Andy Warhol almost two decades later with his notion of "fifteen minutes of fame" and everyone buys that concept. It's not quite the same as the concept of this. Nor is that of the very popular "Network," which came even later. But the premise here is that reporter Kirk Douglas will literally jeopardize a man's life in order to get a series of big newspaper stories. And does anyone today doubt that such things happen? Wilder was often cynical, though here it is to the most meaningful end. "the Fortune Cookie" and "Kiss Me, Stupid" are cynical also and they are both fun but this one makes a very trenchant point and they do not.

The acting is superb. Kirk Douglas gave many brilliant performances. This is one of them. The trailer included in the DVD I just saw crows that with this Jan Sterling will be immediately elevated to the top rank of female stars. That never happened but she is excellent here, as generally elsewhere.

The interviews of Wilder by Cameron Crowe tell a funny story about the genesis of one of her lines. I'd better not quote it; so get that book. It's very entertaining, informative, and touching.

Wilder was one of =this country's great directors. This will probably never be one of his most popular movies but I'd certainly rank it as one of his best.

Saw this films years ago and it's still gripping.Mr.Wilder seldom did films that gripped the human condition like this one.After this movie flopped he stuck to screen adaptions of stage hits through most of the fifties.Both director and star,Kirk Douglas really delivered a stinging expose of media hype and manipulation of the newspaper business.Herein,burned out reporter Douglas chances on a man trapped in a cave and ruthlessly exploits it for his own gain.There's no softness here,even the leading lady (played wonderfully by Jan Sterling)is as hard as Douglas.The scenes of all the gawkers showing up,complete with carnival,are outright creepy.There's even a cheesy country western singer plunking a guitar and singing about poor Leo,(the trapped man.) The only sympathetic person is poor Leo's mom who continually prays for his release.Definitely a film for lovers of great movie drama.

One of Billy Wilder's great movies, with a superb acting job by Kirk Douglas as the cynical, glory-seeking and even desperate reporter whose only goal is get back in the limelight by regaining his former big-city news desk job.

The idea of such a newspaper reporter manipulating events to stretch out a story at the expense of and disregard for the victim still seems nearly inhuman, but Douglas' performance makes it instantly believable. The story scenario in which locals, then passers-by and finally distant tourists gravitate to and then make a festival or circus out of the event (the film was also released under the title "The Big Carnival") is supported by the real events on which the story was most likely based: the West VA mine disaster in 1925 that trapped miner Floyd Collins and was reported for 17 days, much as in the film, by local newspaperman Skeets Miller, who crawled into the mineshaft for face-to-face interviews with the trapped and doomed Collins.

This movie fits nicely into the Film Noir genre, although it takes place largely under the hot, harsh glare of the Arizona sun, highlighting the sweat and grime visible on the characters' skin and creating a visual metaphor for the sorry state of their souls. I wonder if Henri-Georges Clouzot saw this film before he began filming "The Wages of Fear," because the visually pervasive atmosphere of sweat and filth and opportunism are equally present in both.

Billy Wilder's first commercial failure, but one of his best films, almost up there with "Sunset Blvd." Ambitious reporter Chuck Tatum (Kirk Douglas) finds out a man is trapped in a collapsed mine. By spewing out bogus engineering, he manages the rescue of the poor man to become more complicated, and time consuming then needed. Meanwhile, it becomes an amazing news item, something that makes Tatum the best known reporter in the country. However, everybody's luck runs out at the end. Perhaps the cause of failure of this film is that there are no sympathetic characters here. Douglas plays a total creep, the trapped man's wife is a floozy "I'm not going to pray for him! Praying ruins my nylons!" in the film. Even the trapped man is somebody who was poking around Indian graves. The screenplay, and the lead performances are top class. The extensive location photography, and somewhat documentary look of the film makes the film feel more modern than most 1951 films. Billy Wilder calls this film "the runt of his litter" Don't be so harsh, Billy, it's an excellent picture!