Los amores de un canalla

A pretty interesting little movie. George Sanders, who plays the scoundrel of the title, is the pivotal piece of the jigsaw and the one who makes it work. Initially it appears Sanders is miscast: he's certainly not the playboy type, and also too old, but as the film progresses you realise that he's absolutely nailing the performance. His anti-hero is never less than engaging, much more so than many clean-cut heroic types.

The film begins with a death before the real story is told in detail. We learn how Sanders' character flees from post-war Europe to hit the big time in America, while his scandalous behaviour leads to death, destruction and destitution along the way. The supporting cast is fleshed out with attractive starlets, including Zsa Zsa Gabor and the ever-appreciated Yvonne De Carlo, and there's lots of drama and one or two well-filmed fights to keep things moving despite the lengthy running time. DEATH OF A SCOUNDREL is no classic but fans of the era will find much to enjoy here.

I first became aware of this movie when I bought the soundtrack composed by Max Steiner back in the 80's. With its Eastern European flavour, the score for "Death of a Scoundrel" was Steiner in top form, and as I later discovered, was one of the best things about the movie.

The film begins with Clementi Subourin (George Sanders) lying shot dead across a bed. His assistant, Bridget Kelly (Yvonne De Carlo), tells his story, which is revealed in a long flashback.

In Czechoslovakia just after WW2, Subourin returns from a concentration camp to visit his brother, played in the film by George Sanders' real-life brother, Tom Conway. After discovering that his brother has virtually forgotten him and even married the girlfriend he had asked him to protect, Subourin turns his brother over to the police for dealing on the black market.

He travels to America where he makes a fortune speculating on the stock market - mostly by questionable means. Along the way he encounters people who either become allies or more likely, enemies. Subourin is ruthless and vengeful, and has affairs with many women, often at the same time. He is a forerunner of the Wolf of Wall Street but seen through the heavy filter of 1950's censorship.

Ultimately, it all unravels and we finally learn who pumped the bullets into him.

The movie covers a lot of ground, and has a good script - for the most part. However it falls down visually. Almost totally studio bound, where a filmmaker like Val Lewton and his team could transform a cheap set into a work of art using the shadows from a shuttered window, the guys who made "Death of a Scoundrel" were masters of over-lighting.

The scenes set in Europe are the worst. It's almost as though someone found an unused storeroom at RKO and thought, "Great, this can be Czechoslovakia".

Apart from his trademark arrogance and disdain; George Sanders' character also shows nervousness, petulance and even a little contrition. It almost seems like too much acting from George. I prefer his Addison DeWitt from "All About Eve" where, although he only displays one mood, absolute superiority, it is undiluted Sanders. His back-story is also poorly thought out. After he has just been released from a concentration camp, he looks amazingly healthy - in the pink in fact. At no point does he seem to carry the baggage from the experience that Rod Steiger does in "The Pawnbroker".

The cast is full of beautiful women. Yvonne De Carlo and Zsa Zsa Gabor are foremost among them, and are numbered in the quartet of women looking down on George Sander's body in the striking poster for the film, which along with Sanders and Steiner, was another element in the sum of the parts that turned out to be greater than the whole.

I seem, no matter what the film, to always be drawn to a George Sanders film. He usually plays the most offensive, morally bankrupt, devious, underhanded roles. If there is someone out to swindle a woman from her possessions through flattery - George Sanders is there. If a young ingénue is promised fame for the price of her physical love - George Sanders is there. If a brother is turned in for stealing rare objects d'art to the police - George Sanders is there. These are just a portion of the terrible things George Sanders does in Death of a Scoundrel, but, amazingly, Sanders remains almost likable throughout because of his innate affability and charm. No one turns a phrase better than Sanders, and it is his easy wit, dry delivery, wry sense of humor, predisposition to sarcasm, and excellent timing that make him stand out in what would otherwise be pretty routine stuff. Death of a Scoundrel opens with Sanders already dead. We then get to, through the character of lovely Yvonne De Carlo, trace the roots of how Sanders first became a scoundrel and how he eventually died. The story, though full of overstated melodrama, is an interesting one with the Sander's character actually given some depth of characterization. The supporting cast is top-notch with Zsa Zsa Gabor giving what I think is one of her all around best performances. She and Sanders appear to have strong chemistry between them(little wonder as they had previously been married/divorced). Nancy Gates does a very credible job as an aspiring actress. John Hoyt is always good and Coleen Gray gives a good turn as well. Tom Conway, the real life half-brother of Sanders, plays Sander's brother in the film. But supporting cast aside, this movie is all Sanders. I really liked Death of a Scoundrel. It is not a great film, but it was much better than I had thought it would be. It goes to show that quality acting, a coherent script, thoughtful direction from Charles Martin, and a sense of style, not just in how the film appears but in the way the film is made, all go a long way in making the mundane pretty good.

I caught this on Turner Classic Movies this morning and found it completely mesmerizing. I'm not quite sure what the other reviewer meant when he/she wrote that real people in the 50's didn't talk this way. Real people don't talk like the folks in Gilmore Girls, but I love that show. Complex, witty dialogue attracts me and this movie has it in spades. George Sander's character is an unapologetic liar, seducer, perpetrator of financial fraud, yet he remains charming and watchable at all times. I compare this to his scoundrel role in All About Eve; that character gave me the creeps when he revealed the corruption under the charm and cynicism. In Death of a Scoundrel, the character instead inspires a whole range of emotions including, finally, pity.

I laughed out loud throughout this movie, as Sanders' rogue juggles multiple women. In one scene, his servant announces a rich woman (Zsa Zsa Gabor) has come to his house unexpectedly. He quickly ushers out the woman with whom he's been having tea and romancing. Zsa Zsa comes in and while exchanging pleasantries with him picks up one of the teacups, examines it for lipstick, and says "Beautiful cup" as she sets it down.

In another scene, he is romancing a married woman and invites her to lunch the next day. She comments that he is very bold, seeing as how she is married. He replies that he finds her too fascinating not to pursue. She says, "But I am attached!", and he replies, "I don't want to attach you, I only want to borrow you for a while." Very funny, melodramatic, and eminently watchable film.

When Clementi Suborin is found murdered, his secretary recounts to the police the story of his rise from Czech refugee to ultra-rich New Yorker. The tale of betrayal, womanizing and fraud confirms that almost everyone who knew him wanted him dead.

"Death of a Scoundrel" is a fictionalized adaptation of the life and mysterious death of Serge Rubinstein. He was a stock and currency manipulator, a playboy, Café society denizen, convicted draft-evader and murder victim. I had never heard of hi, but now i want to know more.

The film is quite good, but somewhat misleading. It is presented as a film noir, but really is more of a biopic. Within the first minute or two we get a heinous murder, but the remainder never gets gritty like you would expect from the opening.