Les pièges de Broadway

Tony Curtis and Debbie Reynolds were my main reasons for seeing 'The Rat Race'. The idea of the story also intrigued me, as did seeing Jack Oakie in a late role, Don Rickles in an early one and having the great Elmer Bernstein being the composer. There was the worry though as to how Curtis would fare in the setting, and whether Reynolds would be too glamorous within a story that does have some grit.

Luckily, what 'The Rat Race' had going for it works very well in its favour, nothing is squandered. 'The Rat Race' has grit and charm, but it is also very entertaining where almost everything works and any initial worries were blown away very quickly. Quite a breath of fresh air compared to some things seen recently, of my recent viewings of Curtis' works it's among his better ones, and worthy of a little more credit than it gets.

Maybe at times 'The Rat Race' is a little too talky.

From personal opinion, as nit-picky as this sounds, Curtis and Reynolds are slightly too pretty amidst a purposefully drab setting and a story that has its grit.

Apart from those, there is very little to dislike. It is lovingly photographed and its locations are picturesque and atmospherically drab, which is more than fitting with the tone. Robert Mulligan directs with energy and is careful not to make things go over the top or too tame.

Bernstein's score is a major asset, haunting and smouldering with the main theme being a very difficult one to forget. The script on the most part has wit, sharpness and is free of fat and too much froth. The story is full of energy and charm, the romantic elements are adorable, the comedy genuinely funny, and the grittiness of some of the story is handled very well.

Curtis and Reynolds are immensely likeable and are irresistible together. Rickles has seldom been more deliciously repellent, while Jack Oakie and Norman Fell amuse.

Overall, very entertaining and recommended. 8/10 Bethany Cox

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.

The Rat Race (1960)

Maybe this will help: Tony Curtis is himself, really strong, and if you like him, you'll like him. Debbie Reynolds is kind of at her best, for me, less trivial than she is sometimes portrayed. She doesn't dance or sing, but is just a girl trying to make it in New York. Throw in Don Rickles at an exaggerated but believable role, with less humor and more grotesqueness. Finally, though big sax man Gerry Mulligan gets big letters in the credits, he appears, as himself, only briefly (though we do get to hear him play for a few seconds).

But let's turn this around and talk plot. In a very broad way, this is a kind of "Breakfast at Tiffany's" a year earlier. Nice guy lands in New York without a clue and local woman is braving it on her own and having to compromise her principles in the process. Even the music, by Elmer Bernstein, is in a Henry Mancini style (only rarely dipping into any real jazz, for those looking for that). Though painted as a story of boy meets girl and the improbable follows the unlikely, the basic premise is heartwarming and true to a lot of our dreams of making it, and making it with the right person (both).

I liked this movie a lot. It's even photographed by Alfred Hitchcock's cinematographer, Robert Burks, and so it looks good, too, in mildly widescreen Technicolor. It's a situation drama/comedy--there is no sensing that this is actually real. In that sense it's really a 1960 era movie, when artifice had reached a truly plastic kind of height (sometimes with wonderful results, but even classics like, say, "West Side Story" have a style from the times that is neither classic 1940s Hollywood in its believability nor totally creative invention as with those rare movies here and there all through the decades). The point is, you have to like this kind of set-up style to start with. You probably know whether movies like some of the Doris Day classics or even Marilyn Monroe movies are up your alley.

Or "Breakfast at Tiffany's," or the black and white counterpart in a different sense, "The Apartment." I think this Curtis/Reynolds romantic comedy is totally overlooked, and deserves a close look. There are ever some fabulous if fleeting shots of busy New York City. And if you've never heard of the director, Robert Mulligan (no relation to Gerry), don't worry. He did pull off one all time classic handled with similar panache--"To Kill a Mockingbird." Yeah, don't underestimate this one.

Tony Curtis, (Pete Hammond Jr.) plays the role as a musician who plays a saxophone, clarinet and flute and he leaves Milwaukee, Wisconsin and heads to New York City to start out on his career. Pete has a hard time trying to find a cheap place to live and winds up sharing an apartment with a girl named Peggy Brown, (Debbie Reynolds) who is a dancer and singer and has lived in New York for a few years and is having a hard time trying to find a job doing what she likes. Peggy does work in a dance hall where men buy tickets for every dance and the establishment is owned by Don Rickles who is a very shady character who has a great interest in Peggy and has loaned her $600.00 and begins to want her to repay him in more ways than one. This is a great film because Tony Curtis, Debbie Reynolds and Don Rickles played very dramatic roles and they all gave outstanding performances. Veteran actor Jack Oakie, (Mac, Owner of Macs Bar) gave a great supporting role and also some comedy. If you have not seen this film, you are missing a great 1960 Classic, so keep an eye out for this film on TV. Enjoy.

DEBBIE REYNOLDS and TONY CURTIS are excellent as two young people in 60's-era New York City facing adversity with street smart skills developed after abuse from thugs like DON RICKLES (a savage performance), and other so-called big shots.

Curtis takes pity on Reynolds and invites her to share his flat--but his luck fades when his musical instrument is stolen. True love blossoms as Reynolds tries to help him with lots of obstacles thrown in their way by assorted no-gooders.

Garson Kanin directed from his play and he keeps the action moving and the stylish backgrounds show New York City scenes that would make any New Yorker nostalgic for "the way it was".

A downbeat, sometimes bitter dose of comedy/drama that has so much energy and such appealing performances from Reynolds and Curtis, that you'll be drawn into it from the start. Well worthwhile.