El truhán

This movie doesn't quite make it into the ranks of noir. Although it's interesting to watch George Raft and Ava Gardener, there isn't any chemistry between them and their relationship is not believable.

Nevertheless, Gardner is amazing eye candy, a screen goddess, and steals every scene she is in. Frankly, she is so gorgeous that she is completely miscast in this little melodrama about small town hicks.

The story takes place in the post-depression era and contains a few nice plot twists. Victor McLaglen delivers a terrific performance as Raft's drinking buddy and partner in crime, but the rest of the cast don't do much for the movie except provide forgettable characters.

The direction and cinematography are okay but the biggest problem is the casting. None of the main characters except McLaglen fit their roles. The DVD (Classic Film Noir, Volume 2) is worth watching for Gardner and McLaglen, who sparkle in a movie that is otherwise quite ordinary.

There was a time when the studio system had the actors and actresses like Ava Gardner and Victor McLaglen making about 5 films a year. Actors and actresses in the studio system worked hard and some films never became brilliant but did entertain audiences. This film was on my compact disc with three other fair films with other actresses like Jane Wyman, Marilyn Monroe in a small role but still, and Joan Crawford in "Rain." One cannot stop looking at Ava Gardner playing Mary, a girl who returns to her small town life from the big city of Chicago which she left in a mystery. She returns to her boyfriend who is unmotivated gambler and meets a rich businessman who takes a liking to her. Ava steals this film hands down. It's not a great film but it's more about characters and story lines than anything else.

Other than Ava Gardner's beauty, there isn't a lot here. We have the usually restless George Raft character, hanging around a small town. Apparently he has some earlier dealings with Gardner and when she crosses into his life, there's some pain involved. She is angry with him for his lack of motivation. Nevertheless, there is a bit of sexual tension. Personally, if she is the package, he should change and change quickly. She also has some baggage. How much we don't know, but it's obvious that she has sold out a few times herself. It all gets down to Victor McGlaglen getting his revenge on a guy he owes, who also is a sort of sugar daddy to Gardner. Things get pretty heavy handed and are resolved in rather an odd way. It is somewhat satisfying, not terrible, but both actors have done better work.

In the late 1930s, George Raft was at the top of the movie business. He had a lot of prestige at Warner Brothers and looked destined for greatness. However, after a very long string of insane career choices (rejecting the lead in such films as "High Sierra" and "The Maltese Falcon"--all of which made Bogart a top star), his clout suddenly vanished and he played out the 1940s in a string of progressively less prestigious and uninteresting films. When "Whistle Stop" debuted, he was already well on the way to becoming a second or third tier actor--and unfortunately, his performances generally looked second or third-rate as well. I've seen quite a few of these later films and can only describe his performances as 'wooden'.

"Whistle Stop" has a major handicap at the onset. Raft is cast opposite Ava Gardner as the love interest--though he was over 20 years older and seemed ill-suited and ill-at-ease in this romantic role. And, frankly, this wasn't all Raft's fault. I especially cringed at the flashback scene where they tried to make Raft and Gardner look like teenagers--his hairstyle was pretty funny and he looked like a 45 year-old man trying to be young and hip (which he was).

The film begins with Gardner returning to the small town where she grew up but had left in order to live in the excitement of Chicago. It soon becomes apparent that she and Raft (oddly cast as a small-town sort of guy) had a past history together...but was distracted by both the lure of Chicago and the tough and rich Tom Conway. And, ultimately, Conway and Raft fought it out for her. Raft won the fight, but she left with Conway...but now, years later, she is back. But can she pick up where she and Raft left off? One thing getting in their way is the directionless way Raft's life has become--as if he didn't care about tomorrow. Can he clean up his act and win the girl? And, will Conway make trouble for Raft now that he's apparently won Gardner? In addition to these actors, Victor McLaglen is on hand to play a bartender and Raft's pal. His character, frankly, is a bit hard to understand. Who his is and why he's there is pretty vague. Fortunately, this all becomes clear at the end--and it is a nifty one--making up for the general blandness of the rest of the film. The film has a few nice twists but also gives Raft a mostly passive sort of role for the leading man--and not a film that would help him regain his past prestige on the screen.

Ava Gardner looks delectable and the character actors are wonderful in this preposterous soaper with noirish tendencies. No hint is ever given why Ava should fall for such a schmuck as portrayed by Raft. Why she should dally with the sort of weasel as portrayed by Tom Conway is a head scratcher as well. Perhaps they're the best that this one track town can offer in the way of available men. One would think that Chicago, the town Ava leaves to return to this burg, would present a more palatable platter of gents. But, thought doesn't play much of a part in this story. It is improbable, turgid and despite the fact that a train rolls through town, goes nowhere. There is some interesting camera work and nice lighting. The secondary actors are the only reasons to keep watching this bore. Well, that and the various shots of dreamy-looking Ava attired in her robe, nightgown and clinging dresses. Ultimately, though, this flick can be tersely summed up as being about a mope and a dope.