La taberna de las ilusiones

If you're thinking of Tony Curtis and Debbie Reynolds with their Hollywood glamor - you're in for quite a surprise - this is grittier stuff than they usually did - altho - not guttery or depressing - as it would be in todays milieu

try to overlook the residue of Tonys Bronx accent - and enjoy his eager Midwestern saxophonist arriving in the jazz musicians mecca - Noo Yawk City

except he's not in a typical Hollywood success story - here the emphasis is on disillusionment - and its actually risqué for its time - with Tony and struggling dancer Debbie Reynolds sharing an apartment - both actors are very good - Debbie could have used more such roles

the script is too talky perhaps - too much like a stage play - the most memorable thing for me beside the stars is the music - especially the throbbing theme song played over the opening scenes of Tony's cross country bus ride - from the plains of the Midwest - to smog shrouded NYC

and i can still hear in my mind the driving version of THAT OLD BLACK MAGIC played with real life saxophonists Sam Butera and Jerry Mulligan - and Joe Buskin at the keys - that scene demonstrates how convincing Curtis was at faking playing a saxophone - notice his red face while playing the large baritone sax - when i was in the school band - i could barely get a sound out of one of them

In watching The Rat Race today, I was struck by the fact that this film did not lead to any more parts like the one she played here for Debbie Reynolds. She was quite a revelation as the girl who's been around the block a few times and just struggling to stay alive in that meat grinder called New York.

By the time The Rat Race came out, Tony Curtis was already being taken quite seriously as an actor with The Sweet Smell Of Success and The Defiant Ones behind him. But Reynolds was America's sweetheart, still basking in the sympathy of the American public when Elizabeth Taylor stole husband Eddie Fisher. She played good girl roles almost exclusively, but here she takes on a part that you would have more readily cast Elizabeth Taylor.

Curtis is from the Midwest and an aspiring jazz musician who comes to New York, but gets quickly victimized by a cruel city. Reynolds is a woman who is an aspiring model who does what she has to in order to survive. But that's coming to an end as landlady Kay Medford wants her money and thug Don Rickles who she's into wants something else and quick.

The two of them decide to move in together without benefit of clergy, something that was still quite daring with the Code firmly in place. It's strictly economic at first, but you know these two people living one step from the gutter would fall for each other.

The film was based on a play that Garson Kanin wrote and ran 84 performances in the 1949-50 season on Broadway. It starred Betty Field and Barry Nelson on stage and repeating his role from the original cast as a musician con man is jazz great Joe Bushkin.

Besides Reynolds the performance to really watch out for is Don Rickles as murderous hood Nellie. For those of you who think of Rickles as insult comedian to the stars, his performance will knock your socks off. He far more than Debbie was the real surprise here. Jack Oakie has one of his last roles as a philosophical bartender, serving drinks in the downstairs of Kay Medford's boarding house.

I have a sneaking suspicion that Debbie Reynolds might have taken this part to prove she had every bit the acting chops Elizabeth Taylor did. She certainly proved it to me and The Rat Race ranks as one of the best performances by either of the two stars.

I was 9 years old when I first saw this movie, which was probably too young. I think it was the "B" movie accompanying "Bells Are Ringing" with Judy Holliday. To me (at that age), the movie was very grim, but mesmerizing. Main characters were extremely likable. You could not help but feel badly for Pete Hammond and Peggy Brown who were good folks but had to deal with such adversity. Watching the movie, one could not help but feel so badly for them (Tony Curtis' character for being trusting and having his musical instruments stolen, and Debbie Reynold's "hard" character (with a heart) for sacrificing to help Tony's character out and being abused by Don Rickles' character and his henchman.

Norman Fell and Don Rickles were very effective as the "heavies". To this day, I think of Don Rickles as "Nellie" in this film. I'm a Rickles fan, but can't make myself like him (smile).

Also love the NYC scenes, and film is almost nostalgic (NYC, the way it was in 1960).

Definitely a "must see". Great actors in their environment and in a past era. I have a VHS tape, but will order a DVD as soon as I log off :-) Tim

An ambitious jazz musician tries to make it in The Big Apple despite hardships. Meanwhile he befriends a desperate taxi dancer trying to hold on to her self-respect.

The 105-minutes amounts to a sour valentine to New York City. The ending is predictable from the start. Why else cast two big Hollywood stars in the leads. The fact that Peggy (Reynolds) and Pete (Curtis) finally get together is not because of the City, as we might expect, but in spite of it. Thus the screenplay breaks with Hollywood convention of big cities with a soft heart. Note, for example, how the landlady's morning grouch gets quickly reflected in other grouchy New Yorkers.. That sort of uncompromising attitude may be the movie's best part.

Otherwise, it's Reynolds breaking with her malt shop image, as a hard case who registers zero smiles throughout. At the same time, the effort to break with the Tammy image (Tammy And The Bachelor, {1957}) is too pointed and resolute to be convincing. Curtis, on the other hand, is fairly amiable, and not quite as miscast as Reynolds. Still, his Bronx accent sort of comes and goes for a guy supposedly from Milwaukee. Having two stars at the peak of popularity also means giving them adequate screen time to satisfy their fans. But that also means padding a slender storyline with lots of talk that too often drags out the runtime. Note too, how awkwardly the script plays with the key topic of prostitution, a word or even concept that dare not speak its name, thanks to the suffocating Production Code.

Anyway, Oakie and Medford supply subtle amusement, while Rickles chews the scenery like he's starving for attention. All in all, it's a 105-minutes that doesn't wear well, despite being cutting edge at the time. All in all, I'm glad that Reynolds soon went back to the personality roles she was so good at.

I loved this movie about two struggling young people and the friendship and love that grows out of those struggles. You won't find any glamour in this film, but it manages to be much more beautiful than many a movie oozing pearls, silk and mahogany. All characters are interesting, likeable and well-drawn. Rickles is fantastic as an uncouth, vulgar boss, the personification of a soul destroyed. Everything is just right. As usual, it is small movies that reach the greatest heights. I once saw screenwriter Kanin and his wife Ruth Gordon on "Donahue". I'm sorry I didn't take any notes.