Fiesta e sangue

When a bus arrives in San Pablo, the mysterious American Lucky Gagin (Robert Montgomery) looks for the La Fonda Hotel and he meets the local Pila (Wanda Hendrix) that offers to take him there. Gagin is a tough man and army veteran and he seeks out a man called Frank Hugo (Fred Clark) and he learns that he will be back to his room only on the next day. Gagin stumbles upon FBI Agent Bill Retz (Art Smith), who is chasing the powerful mobster Frank Hugo, and he warns Gagin to forget his scheme for revenging his friend Shorty that was murdered by Frank. Then Gagin looks for a hotel room and he goes to the Bar Tres Violetas, where he befriends the owner of carousel called Pancho (Thomas Gomez) and he buys drinks for his friends in the bar. Pancho offers a place to Gagin to spend the night. On the next morning, Gagin goes to the hotel and meets Frank Hugo. He blackmails the mobster, asking for 30,000 dollars to give a check that incriminates him. Frank Hugo accepts the deal and tell that the money will be available only at 7:00 PM. Will Gagin succeed in his extortion of money from Frank?

"Ride the Pink Horse" is a different film-noir directed by Robert Montgomery, who is also the lead actor. His bitter and unpleasant character is well-developed as a war veteran disillusioned with the post-war life since his lover is unfaithful and his best friend was murdered by a mobster. Wanda Hendrix performs a weird character, maltreated by Gagin but following him like a puppy. But the plot is a good story of friendship. My vote is seven.

Title (Brazil): "Do Lodo Brotou Uma Flor" ("From the Mud Sprouted a Flower")

From the film's opening scene, which shows the protagonist, Lucky Gagin, emerging from a bus into a dusty Mexican town, the viewer is hooked. There are so many good things about this film, primarily the acting performances -- Robert Montgomery is a standout, as are Wanda Hendrix, Fred Clark, Thomas Gomez, and Art Smith. They each completely occupy their characters and make them come to life. Another highlight is the dialogue -- there are numerous memorable exchanges between Montgomery and Hendrix, and Clark delivers two especially well-written diatribes that serve to solidify his character in the consciousness. The story itself is quite simple, and is driven far more by characterization than by plot, but that is what makes the film so good. The film also contains its share of classically dark noir imagery -- most memorable is the scene in which the Gomez character is savagely beaten by two hoods while a group of neighborhood children sail along on the nearby merry-go-round, at first gaily enjoying the free ride but growing increasingly somber and afraid as they witness the brutal attack. This one is a definite must-see, particularly for film noir buffs, but also for film lovers of all types.

In one of a couple of films done at Universal starring Montgomery that are hard to find. Ex-solider Lucky Gagin (Robert Montgomery) arrives in the little southwestern town of San Pablo during a hectic fiesta weekend. He's come here seeking revenge against the man he holds responsible for his friend's death. But his quest may be derailed by one of the motley assortment of characters he meets: scheming federal agent Retz (Art Smith, spooky-eyed young Mexican girl Pilar (Wanda Hendrix), and boisterous carousel operator Pancho (Thomas Gomez), among others.

Montgomery does a very good job in both the directing and acting departments. The film showcases several stylish flourishes, and maintains an evocative, "stranger in a strange land" aura of uncertainty and mild paranoia. His performance as the plainspoken Gagin is also a nice stretch from his usual smooth charmer. He's blunt, occasionally rude, maybe not the sharpest guy in the room, but cunning enough to be a threat to those he targets.

The movie takes an unexpected turn in the last third which helps set it apart from the other crime pictures of the period, but in my opinion it weakened the resolution a bit. I liked Hendrix, and Gomez is affable in a character type he would go on to play several times in the future. Fred Clark, as a crime boss, and Art Smith as the fed, are unusual casting choices that work. The movie earned an Oscar nomination for Best Supporting Actor for Thomas Gomez.

I was in the process of reading this book and then started watching a movie without knowing what the movie was. It was deja vu all of the sudden. It turned out to be this movie. I think that Robert Montgomery did a great job of capturing the character that was in the book. Tough but naive at the same time. A very good noir film that should get more play and recognition.

The dark atmosphere,the craziness of the music and the partying in the background all the time as the story unfolds. Maybe I had a leg up reading the book almost first. It's very rare when I think a movie based on a book is just as good as the book. I felt sympathy for Robert Montgomery's character. All the time thinking he was going to lose to the cheats. He had his own principals and stuck to them.

Can't say enough.

Good movie.

I saw this film when I was a young boy when it first came out in 1947 but didn't truly appreciate it till I saw it on TCM the other night again. I agree with all your commentators as to its enigmatic mystery and its possible shortfalls attributable to Montgomery vis a vis Bogart. I found the dialogue and the monologues gripping. In later looking this movie up here I discovered why: the script was by Ben Hecht (of Front Page fame). No wonder it was so great. As many of your commentators point out (and very perceptively too) the individual performances of Gomez, Hendrix, Clark, etc. were all splendid, not to forget Montgomery himself. But TCM must have edited the film or else I fell asleep watching it: I definitely did not see Gomez being beaten up by anyone while being watched by uncomprehending children. That part was definitely not in the version that I watched, sad to say. One of the strongest parts of the film was the disillusionment and cynicism expressed by the Montgomery character against patriotism, and WWII and its profiteers in typical film-noir fashion. Also strikingly evocative and disturbing was the final scene in which the innocent-appearing and passive Hendrix character finally opens up to her friends and re-enacts the events of the film in a vivacious and cynical way to show her friends how sophisticated she is after all. What a dash of cold water in the face of those who expected a romantic ending between two such repressed characters who made a specialty out of never showing their emotions. A great, great movie.