Intriga en Honolulu

Early in the film Wayne and Arness take the US Navy "picket boat" out to Battleship Row and the superstructure of the USS Arizona, long before the familiar white memorial was built. This little side trip provides a continuity. The 50's fear of Communism was seen, in that era, as being informed by the experience of the attack at Pearl Harbor 11 years before. Folks then knew from bitter, bloody experience, that evil in the world existed, and they were trying to thwart the new evil. It may appear ham-handed to us today, but, in the context of the times, finding the enemy through investigative techniques probably appeared preferable to another sneak attack. Having read the above comments, I also appreciate the way the writers heaped praise on the local, Hawaiian, police.

I like this movie, but must admit it's rather cheesy. It's not that I disliked the plot of having John Wayne playing an FBI man bent on smashing communism--it certainly is unique and very much like the real life Wayne. No, what makes this movie so campy is James Arness' incredibly silly performance. Unlike Wayne, who seems rather restrained and cerebral in comparison, Arness responds to every commie the same way Mike Tyson responds to Evander Holyfield's ear! He goes nuts and beats the crap out of all of them, so there's not much dialog. He roughly responds to every potential enemy with "you commies make me so mad,..."--then WHAM, BAM, POW!!! Civil liberties aside, it's quite thrilling to watch him in action!

With the benefit of hindsight it's very easy to criticise this movie, but I think it is foolish to completely dismiss it. Forgetting the fact that its script is laughable, plot thin, acting wooden and appreciation of communism astoundingly pathetic, this film is a historical gem which allows one an insight into the right wing U.S paranoia prevalent in the 1950's cold war era.

In 50 years time from now I expect the future generation will find some of our contemporary Hollywood films just as risible. We are all but a product of our time.

John Wayne (in ties and jackets!) ferrets out Commies in post-WWII Hawaii along with strapping partner James Arness. For a movie so obviously filled with swaggering machismo, the overall results of "Big Jim McLain" are fairly tame, with just a scene or two of fisticuffs outnumbered by the romantic clinches between the Duke and Nancy Olson (who moves quickly). Archie Stout's black-and-white cinematography isn't expressive (the budget here doesn't seem large enough for expressive), and yet his silvery shots of the tropics in all their '50s splendor are memorable. As for Wayne, he walks through the whole thing rather sheepishly; Jim McLain isn't much of a character, and Wayne doesn't look like he's anxious to find one in the writing. The flag-waving, Purple Heart-patriotic drama at hand is tidied up very quickly, and yet the film is directed with an easy-going pace by Edward Ludwig. The title was changed for release around the globe (most often due to redubbing to remove the Communist plotting): in Germany and Austria, it was called "Marihuana"; in Mexico and Chile, it was "Intrigue in Honolulu". ** from ****

While Big Jim McLain will hardly rank with the greatest of John Wayne's films, it expresses the conflict between loyal American citizens and law enforcement officials and the threat posed by Soviet agents. Only since the release of some of the USSR archives can we see how real the threat was although rarely as simplistic as the film shows it. Big Jim McLain needs to be viewed in the context of its times just as other US wartime action films reflect the tenor of our role in World War II and how people saw the enemy of that day.