Ruthless

I call this Wall Street Noir as a way of simple classification, but it's a odd film from Britain's Eagle Lion, directed by the usually "B" director of Bluebeard and Detour, this dark film detailing the rise to financial power of a man who lacks ethics, certainly mirroring many of the financial scandals surrounding us today. Director Edgar G. Ulmer had considerable talent, and here is given a literate script, a popular leading man in Zachary Scott, and lots of outstanding support, namely Sidney Greenstreet, Diana Lynn, Martha Vickers, and in a small,unrecognizable role Raymond Burr. Its a talky film with rich visuals, and it is a sad truth, not to be a crybaby about it, but most available DVDs appear to be made from bad VHS copies taken from a television print. The copies one finds today runs only 86 minutes, while the original film, richer and deeper in motivation, is 104. Apparently the streaming versions are much better--and lets hope the DVD Gods read the various reviews and provide the print this film deserves; I have a suspicion the ratings would ramp up with enthusiasm!

Excellent drama about a poor boy who is adopted by a rich family after saving their daughter from drowning. Given all the benefits of wealth and society, he uses the people who care about him and give him his breaks, especially the women he meets. Zachery Scott is chilling in his mentally perverse portrayal of a tycoon that is more in league with Norman Bates than William Randall Hurst. Diana Lynn (the Sandra Bullock of her day) is wonderful as the woman he had saved as a girl and who's heart he would break in his rise to success. There is a twist in the plot mid-way that will be a treat to Lynn fans, though I would have liked to seen more of her in the second half. The entire cast is compelling and the soundtrack is appropriately eerie. Very rare to find this on VHS or TV, so if you find it anywhere, get it, rent it, buy it, tape it, watch it.

Ruthless is directed by Edgar G. Ulmer and adapted to screenplay by S.K. Lauren, Gordon Kahn and Alvah Bessie from Dayton Stoddart's novel Prelude to Night. It stars Zachary Scott, Louis Hayward, Sydney Greenstreet, Diana Lynn, Lucille Bremer and Martha Vickers. Music is by Werner Jansen and cinematography by Bert Glennon.

Even as a boy Horace Vendig always got what he wanted. Then into adulthood and he manipulates himself into high society. Now a fully fledged tyro of commerce he is even more cruel and impervious to how his actions harm others. But when Horace (Scott) reunites with his old best friend Vic Lambdin (Hayward) and he falls a foul of the bitter Buck Mansfield (Greenstreet), all the resentments come crashing together as one!

"Animals kill for food or love. You and I spoil the jungle because we kill for profit, a taste of victory and revenge. Then we destroy each other after"

It was a one time hard to locate picture, where even in early releases it had been shorn of 25 minutes, but now it's out there, a full one hour and forty four minutes of Ruthlessness! Ok, that might be over selling it a touch, but this is a pretty spicy piece of greedy film noir, a scathing attack on capitalism, a telling of the corruption of a man's soul and the bitter treatment he hands out to those who care for him.

Tagged as a sort of baby brother to Citizen Kane, which is fair enough in fact, but that be in narrative drive more than visual panache. There's some nice expressionistic touches, with Glennon (Crime Wave) proving what a very talented cinematographer he was (see his Westerns output), but the pic does lack for noirish visual menace to marry up with the sour lead characterisation. Which is a crime given it's Ulmer (The Black Cat/Bluebeard/Detour/Strange Illusion) in the directors chair.

However, where the pic shines bright is with the performances, Ulmer getting his cast to turn in impressive portrayals of the human condition. The ladies are especially great (Lynn has a dual role) as they nail the respective heartbeats of women buffeted by Horace's duality of twisted emotions and lofty avarice ambitions. In short we get very mature turns in a film that's very much mature in thematics. Add it to your Ulmer "to see lists" post haste. 7.5/10

This may be Edgar G. Ulmer's masterpiece. RUTHLESS is a terrific noir/melodrama - sharply written (by the to-be-blacklisted Alvah Bessie and Gordon Kahn), consistently beautifully photographed (by the underrated Bert Glennon), and truly adventurous in its editing and flash forward-flash backward construction.

Zachary Scott is the "ruthless" title character, but the title is more a cheap shot than anything else; Scott's Vendig is more an emotionally bankrupt, pathological character than a villain per se. The narrative takes pains to reveal - gradually - the series of events from childhood through adulthood which affected his perverse makeup, making for a fascinating character study. Subtle revelations and plot twists come about every fifteen minutes, but they're deliberately ambiguous when they hit the screen, forcing the viewer to pay close attention as the truth of the situation is revealed. This technique alone puts RUTHLESS way ahead of any other Poverty Row melodrama of the period and cements Ulmer's reputation as a thoughtful stylist.

Louis Hayward plays a sort of Greek chorus, an often acquiescent voice of conscience/best friend/nemesis who keeps the episodic story moving along. Diana Lynn (in two roles), Martha Vickers and Lucille Bremer each give terrific performances as the various women who appear, disappear, and reappear in the lives of both men. All are sharply drawn, a testament to the determination of Bessie, Kahn and other blacklisted writers to put strong female characters on screen in defiance of the Production Code, which seemed to encourage either submissive or predatory roles for women.

And as if all that isn't enough, Sidney Greenstreet drops in and sets the screen on fire in every sequence he appears in. A classic coiled spring, his portrayal of a similarly greedy corporate boss is perfectly slimy, and provides a genuine shock when he suddenly grabs Lucille Bremer by the hair and jerks her backwards for a kiss. Likewise, a later sequence where Bremer drags him in front of the mirror so she can brutally compare him to her new, younger lover is unforgettably painful.

RUTHLESS sits comfortably alongside DETOUR, THE MAN FROM PLANET X and THE STRANGE WOMAN, other Ulmer gems of note. A great movie.

While in a philanthropic meeting promoted by the millionaire Horace Woodruff Vendig (Zachary Scott), the guest Vic Lambdin (Louis Hayward) tells the history of the beginning and end of his friendship with the host to his date Mallory Flagg (Diana Lynn). When they are boys, Horace is a poor boy from a dysfunctional family and Vic's best friend that saves the wealthy girl Martha Burnside from drowning in a river. Horace is adopted by the rich Burnside family and later sent to Havard and gets engaged to Martha, for whom Vic has a crush. When the ambitious Horace meets the wealthier Susan Duane (Martha Vickers) that belongs to a more influent family, he calls off his engagement with Martha and moves to New York with Susan continuing his social raise. Later he meets the shark Buck Mansfield (Sydney Greenstreet) and seduces his young wife Christa (Lucille Bremer) to profit in business, leading to tragic consequences.

I was zapping the cable TV this raining Sunday morning in Rio and I found this rare film-noir by chance, which has never been released on VHS or DVD in Brazil. Edgar G. Ulmer made a magnificent movie with a timeless plot of merciless ambition of a poor and selfish boy that wishes to climb financially and socially using and disposing wealthy women and friendships. The screenplay uses flashback to perfectly develop the lead character and his acquaintances, supported by awesome black and white cinematography and camera work. My vote is eight.

Title (Brazil): "O Insaciável" ("The Insatiable")

Note: On 23 Aug 2019 I saw this film again.