L'avventuriero della Louisiana

"The Mississippi Gambler" is largely responsible for the downfall of Tyrone Power's marriage to Linda Christian. The film was originally developed as a vehicle for the two of them, but Universal Pictures prevailed and Piper Laurie was cast. As Laurie herself put it, "When I did the test, my competition was Mrs. Power!" Christian never forgave her husband. Add to that his affair with Anita Ekberg (who is uncredited in this movie), and you've got a recipe for divorce.

Needless to say, the role was tailor-made for Power - that of a handsome, honorable, gentleman-gambler who's in love with one woman, Angelique (Laurie) and has the love of another, Ann (Julia Adams). Power is magnificently handsome, if maybe a little too old for this part. He is meticulously dressed and has the opportunity to show off his sword play. It's an excellent role for him, and one he does beautifully.

The production values are sumptuous, including the sets, costumes, and a marvelous supporting cast which includes John McIntyre, Ron Randell, and John Baer, and the wonderful Paul Cavanagh, who plays Angelique's father. Laurie, once the President of her local Tyrone Power Fan Club, is exquisite in the ingénue role. The beautiful Julia Adams (who looks eerily like Connie Selleca in this film) does a great job of suffering from unrequited love.

Nearly twenty years of working at Twentieth Century Fox had taught Power a lot. This film was a huge hit and, with a percentage of the gross, made a ton of money for him. He needed it for the divorce settlement.

Mississippi Gambler was Tyrone Power's first film since Darryl Zanuck loaned him to MGM for Marie Antoinette away from Twentieth Century Fox. Ty produced this one and filmed it under the banner of Universal- International. It got deserved good reviews.

No actor in the history of cinema was better suited to period pieces and costumes as Tyrone Power. If Power had been possessed of a good singing voice he'd have made the ultimate Gaylord Ravenal.

As Mark Fallon he's a gentlemen riverboat gambler who gets involved with a pair of women, the spoiled Piper Laurie from an aristocratic New Orleans family and Julie Adams, a down to earth person of few pretensions, but she comes to love Ty deeply. Who could blame her.

Ty with partner John McIntire set out to and succeed in owning a gambling palace where honest games of chance are the rule. They don't need to cheat because they're both the best at their trade.

Villain of the piece is John Baer, Laurie's weakwilled and spoiled brother. He becomes a truly hateful person in this film, the kind audiences love to hiss.

Making a film debut here is Dennis Weaver as a man who goes broke at Power's tables and then commits suicide. You could tell Weaver was going to have a big career from this brief role. You can also spot Guy Williams as one of Baer's aristocratic friends.

If Universal had used one of their contract players for Mississippi Gambler, the part would undoubtedly have been played by the fast rising Rock Hudson. But I don't think Rock could have touched what Power did in a role perfectly suited for him.

Hopefully Mississippi Gambler will come out on Video and DVD soon. Too many of Tyrone Power's performances are unseen by today's generation.

Seton I. Miller's script for the "Mississippi Gambler" is his masterwork. Ther film is beautifully directed, and for once at UniversalStudios, it even looks like an "A" budget effort much of the time. The costumes are stunning, the storyline continually enthralling and the characters frankly unforgettable. Tyrone Power is a few years too old for the part of Mark Fallon, prototype of many a later gambler in westerns; but his acting in my professional judgment in this film is the best he ever did. Lovely young Piper Laurie's and intelligence both serve her in her portrayal of a skittish young Southern belle running away from her attraction to Fallon. Others in the stellar cast include John McIntire as Mr. Polly, Ron Randell as Fallon's rival, Ralph Dumke, King Donovan, Julie Adams, Dennis Weaver and first and foremost veteran Cavanagh as Ms. Dureaux, notorious rake in his time who sees his sins visited on his uncontrollable son and daughter. The theme of the film is honesty; Power wants to be an honest gambler on the Mississippi where a jackal's code is the norm. Bue Fallon has one weapon on his side in his unequal battle,; he is the best swordsman in the world. He sets out to build a life with only those two weapons. Ther film's action sequences are unusually fine, and the dialogue is frequently superb, and the characters unforgettable. This film out of nowhere became a top ten hit in the busy film year of 1953, helped by Gwen Verdon's choreography, the serviceable music by Frank Skinner and the production values of sets, lighting and art direction that make the feature seem even more expensive that it was to create. A minor masterpiece, and a memorable romance; it is also that rarity, an historical film of ideas as well as sparkling adventures. One of the great movies by any standard.

The Mississippi Gambler is directed by Rudolph Maté and written by Seton I. Miller. It stars Tyrone Power, Piper Laurie, Julie Adams, John Mcintire, Paul Cavanagh, John Baer and Ron Randell. A Technicolor production out of Universal Pictures, the cinematography is by Irving Glassberg and music scored by Frank Skinner.

Mark Fallon (Power) is an ace and honest card player who earns his crust gambling on the river boats. Along with Kansas John Polly (McIntire), he aims to bring honest gambling to the card playing masses. When during one high stakes game he beats and embarrasses Laurent Dureau (Baer), it takes him to New Orleans where into his life comes danger, wealth, beautiful women, friendships and tragedy.

Sometimes horses and beautiful women are upset by whistles.

A forgotten film in the output of matinée idol Tyrone Power, The Mississippi Gambler is a different kind of adventure to the type he was ultimately known for. Perhaps this is why it's still relatively obscure? That it isn't a swashbuckling tale of derring-do and testosterone fuelled bravado? As fun as his swordsman pictures are, and they are, it's a shame that the films such as this and Nightmare Alley, that contain some of his best performances, neither get the praise or exposure they deserve.

Mississippi Gambler finds Power getting his teeth into a role that can in many ways be seen as the ultimate male. Mark Fallon lives and breathes honesty and integrity, he is not only an ace card player, he's an expert swordsman, a gentleman, an excellent dancer, and of course, handsome into the bargain. What makes the film so intriguing and ever watchable, is that Fallon does everything correct as he lives his life, but pain, misery and tragedy surrounds him. The majority of people who come into contact with him invariably suffer in one form or another, marking Fallon out as a homme fatale type through no fault of his own, with the film being structured in such a way you just have to wait for the finale to see if your hopes will be fulfilled?

Entering into this one expecting a high velocity adventure will only lead to disappointment. There is action, quite a bit in fact, as we are treated to some fencing, old fashioned fist fights and a duel, while fans of card playing get a couple of high stakes battle of wills to gorge upon. But all these moments are just insertions into a character driven whole, a whole based on romance, passion and yearnings for the unobtainable. The lead characters are nicely drawn by Maté (D.O.A.) and Miller (The Adventures of Robin Hood/Here Comes Mr. Jordan), where the psychological make up and traits of the important individuals is there to absorb, ensuring the story is never dull, that it has a belief in what it will deliver come the end. The only real misstep is with Adams' character, Ann Conant, it's a thankless role and really needed some more flesh on her bones. But boy does Adams look stunning!

As a production the film also scores incredibly high. Bill Thomas' period costumes are feasts for the eyes, beautifully realised by Glassberg's (Bend of the River) Technicolor photography, and the back drop set decoration (Russell Gausman/Julia Heron) is fit to have graced a bigger budgeted epic in the same decade. Prolific music man Frank Skinner (Arabian Nights) scores it thematically reflective, while Gwen Verdon deserves a mention for her choreography, notably for the excitingly macabre Haitian Devil Song. On the acting front it's ineviatbly Power's show, but he is well supported by McIntire (crafty sidekick), Laurie (pulse raising lady axis) and Baer (snivelling spoiled fop). However, best of the support bunch is Cavanagh (Magnificent Obsession), he gives Edmond Dureau a regal quality, a bastion of moral codes, a hark back to when men were correct in manners and parental skills. The relationship between Fallon and Edmond is one of the film's true highlights, and that's because of Power and Cavanagh's performances.

A wonderful movie that's just crying out for a wide home format release, if you get the chance to catch it then grasp it with both hands. 8/10

A joyous technicolor is the symbol of what dear old classic movies mean for us: entertainment, relax, simple but beautiful stories, nice and talented actors, great cinematography and costumes, accurate direction, and, of course, a due happy ending. "The Mississippi gambler" is a perfect instance of what I've just said.

The whole cast works beautifully. I like Tyrone Power. He succeeds in the difficult task of being a beautiful man and an incredibly nice guy. He is a very good actor, too, largely underrated, in my opinion. For the talent of pretty Piper Laurie just refer to "The hustler". Here she manages to be brilliant even in the somewhat straightforward role of the spoiled girl. And then we have John McIntire: he is a member of the club of the all-time-greatest supporting actors, together with Walter Brennan, Thomas Mitchell etc. His mere presence improves a film.

The story is quick-paced, interesting, entertaining, romantic, much 1800ish. The good taste rules. There's plenty of amiable 19th century cliches. Who doesn't like the old gentleman (great job by Paul Cavanagh) who faces a duel to defend the reputation of a young woman? According to the literature of the 19th century, brothers seem to exist mainly to cause major troubles and misery to their affectionate sisters. In "The Mississippi gambler" we have no less than two independent examples in this direction. By the way, John Baer is very good in the role of the debauched, arrogant but coward youngster.

The photography, costumes, and locations are gorgeous. The interiors are outstanding: look at the furniture, it's magnificent. Everything is merged in a glorious, shining technicolor, the main ingredient of our dreams, the vehicle for us to be transferred into another epoch.

Something to add? A fine design is made of the 1800ish psychology of the characters: romanticism, honor, duels, pride, want of adventure, and all that sort of likeable things.

"The Mississippi gambler" is a really good movie, worth of a golden age of cinema.