The Big Bluff

Not a bad programmer, nothing new in the con-man department, but with a nifty ironical ending. Con-man Ricardo (Bromfield) romances wealthy heiress Valerie (Vickers) who has a heart condition. Marrying her, he then plots ways of shortening her life. Trouble is Valerie's friend Marsha (Miller) suspects his motives and enlists Dr. Kirk (Hutton) to help track Ricardo who's also keeping company with Fritzie (Bowe) despite her husband. Thankfully, the complications come together at story's end.

Bromfield, looking a little like Clark Gable, knows how to use a cigarette to suggest character traits. He's just slick enough to be persuasive. The ordinarily shrewish Vickers goes against type, her Valerie being a sweet-natured victim; at the same time, little-known Eve Miller shows why she should be better known. And get a load of Rosemarie Bowe (Fritzie) who's got enough steamy allure to melt a polar ice cap.

Oh sure, the overall result doesn't rise above programmer level, but it's done well for a cheap indie. Too bad, however, that director Wilder doesn't or can't invest the filming with more style that would lift the visuals. And, on a niggling note-- this isn't really noir. Specifically, the film's missing such defining features as expressionist lighting, plus a morally ambiguous central character. Ricardo's wicked, but crucially he's not torn between ethical poles. In my book, the results count more properly as a crime drama.

... if they had beefed up the dialogue, replaced the rather wooden actors, and cut the running time from 70 minutes to 50 minutes. It actually has an ironic ending that is worthy of the master of suspense.

You can see where this film is going from a mile away. Valerie Bancroft is a young heiress who has a fatal heart condition. She and her paid companion, Marsha, decamp from New York and go to California for the sunshine and hope that it will improve her life expectancy - she should live a year at the most. While in California, they meet con man Ricardo De Villa. He claims to be a businessman from South America who is using the lull in business to holiday in California. Instead he is broke, wants to run off with the female half of a professional dance team, and does not have the money to do so. Marsha told him about Valerie's heart condition hoping he would cut down on all of the night life with Valerie if he knew. Instead he woos and marries Valerie, hoping that the increase in activity, which she loves, will kill her off early. And even if it doesn't, a year is not so long to wait to inherit Valerie's money. Complications ensue.

Nobody in this film is that bad, but one part is done very badly. That would be the part of the cuckolded ballroom dancing husband, Don. He hardly ever says anything. But he is always looking around corners and either following his unfaithful wife or Ricardo. Another role is done rather hilariously. Don's cheating wife, Fritzie, is always dressed in one of her ballroom dancing gowns no matter what the surroundings. She could be on the beach or in the supermarket and there she would be, conspicuously dressed to the nines.

I would mildly recommend this one.

The only other comment on this film lists a litany of reasons why not to watch it, generally because of unfavorable but irrelevant comparisons to Billy Wilder, the director's brother.

I will give you a reason to watch it; it is effective. John Bromfield makes an effective gigolo and Martha Vickers, while not the most charismatic actress known, does a good job as the object of his affections.

Watch this without taking a lot of baggage in with you and you will be satisfied. It has a nice twist at the end that you may guess, but probably not.

When scheming fortune hunter and erstwhile Latin lover Ricardo De Villa learns that a wealthy but sickly widow has terminal heart disease, he seduces and marries the vulnerable millionairess.

Playing the part of a faithful and doting husband, he carries on a torrid affair with sexy exotic dancer Fritzi Darvel while avoiding the suspicious eyes of her jealous bongo-playing husband.

When his wife's condition seems to go into remission, the impatient De Villa decides on action that will hasten her seemingly inevitable death.

The plot sounds awfully racy but these are the 50s.

This is sort of a film noir and it's worth a watch, despite the very bad prints that are available.

Good story.

Good acting.

Written by Fred Freiberger (a decade before he made history producing the original "Star Trek" TV series) and produced/directed by B-movie talent W. Lee Wilder, "The Big Bluff" is an unusual drama that especially impressed me with its structure.

The first third (or act in a 3-act play traditional movie format) is placid, with the main characters firmly established, very well-acted by Martha Vickers as the "Ali McGraw" damsel dying of heart disease, but never showing outward signs of decline -in fact that adds to the plot development, her companion Eve Miller - a go-getter always looking out for Martha's interests, and as a fiery dancer/femme fatale Rosemary Bowe (the future Rosemarie Stack re: The Untouchables star) as the Other Woman. John Bromfield is smooth as a real anti-hero, a gigolo type who is alwasy studly and just as avaricious and deadly.

It's pure escapism as they live the high life, the many hints and clues to darkness ahead never interfering with the glamour and easy-going atmosphere.

The second act becomes dramatic as Bromfield's plotting to get rid of Vickers after marrying her for her fortune, and then Wilder steps on the gas for Act III, finally adopting the scary, dark tension and visuals of film noir leading to splendid plot twists coming fast and furious at finale time.

It's quite a sleeper, and has me re-evaluating Wilder's work: it's the tenth movie of his I've seen after enjoying his sci-fi, but never taking him seriously at all, certainly not in the league of brother Billy -I shouldn't have been so hasty.