Última Chance

This was a very confusing movie. Like the summary says, Clair Sinclair (Linda Darnell) is on the run from a hitman (Jack Palance) and the local prizefighter (Robert Mitchum) helps her out.

However, there were so many plot points that came up but never lead to anything, I started to think that this movie must have been cut from its original length. Or, it was just not very well edited. Anyway, half of the movie is pretty watchable, but there are so many pointless scenes and unexplained loose ends, I find it hard to rate this higher than 5/10.

Robert Mitchum is pretty good (very handsome in this one) but Jack Palance completely over does the bad guy act. Linda Darnell does a good job, especially when she has to run UPHILL in high heels on the cobblestone streets of San Cristobal. Get this, Jack Palance is after her, seems to know every turn she takes, but he CAN'T CATCH HER!

It was only after I watched this that I found out it was a 3-D movie, which could explain some of the scenes (like the fiesta and the aerial tram), but most of the movie is so run of the mill, I can't see why they would make it in 3-D.

When characters in a film get into a cable car, you know it's only a matter of time before PING! the cable snaps. Strand by strand, of course, for maximum

tension (ha ha). Mitchum the boxer and Darnell the ex-moll on the run take

the fateful cable car up to a little Mexican hilltop town whose inhabitants have created a totally cardboard experience for tourists. The architecture is

"hacienda style" and lady guests can buy pseudo flamenco costumes in the

"vibrant, bustling" street market. Any Mexican not employed in the hotel,

selling peasant tat, or playing unctuous Mariachi music is out in the plaza

waving a balloon and shouting for joy, or performing a sinuous dance of no

particular origin. It reminds me of the many embarrassing ads on British TV

featuring funny Europeans. Then the main cast members climb aboard that

cable car and it becomes a lifeboat movie and you can write the script

yourself. Two cheers, though, for the feisty British middle-aged couple ("My

wife can help - she was a nurse's aide in London during the Blitz!").

Mitchum is brilliant as usual but Darnell is a little clumsy in the love scenes and speaks as though she was dubbing her lines.

The producers could have skipped the first hour, which is just filling time until the tram trip climax. And what a nail-biter that teetering-over-the-abyss is-- very well done in the special effects department. My only regret is the Palance-Mitchum face off, which should have been a bigger doozy than it is, considering it was for the broad-shoulders championship of Hollywood. Then too, both guys remain immaculately dressed the whole 90-minures—not what you'd expect of tough guys south of the border.

The first part, unfortunately, is pretty listless, except when poor Doc Adams, oops!, I mean Milburn Stone gets it in the gut. Looks like the producers knew they were short on substance, so they filled the Technicolor screen with a bunch of local color. Still, there's a lot of rather aimless walking around to and fro. And, oh yes, I almost forgot Mitchum's big boxing match that looks like it was filmed in a bull ring. Good thing he finally decided to use his power-house right, otherwise there might have been no story. And what a topical plot device putting the lovely Darnell across the border to escape a crime commission. Audiences no doubt connected that with the Kefauver Commission, so much in the news at the time.

On the acting front, Mitchum is his usual laid- back self, while, unfortunately, Darnell isn't given much to work with. At the same time, director Mate's non-use of close-ups denies Palance the skull-like menace that would otherwise fill in needed drama. Anyway, don't expect much until a climax that almost makes up for all that earlier dithering around.

Picture this scene, it's a rainy Saturday afternoon in England, circa 1962, the televised horse racing on BBC has been cancelled and a voice-over informs us that "We are unable to bring you the scheduled programme, instead the film ... will be shown". It would usually be REBECCA, HIGH NOON or SECOND CHANCE. I got to love these three movies, which I would always associate with bad weather at Doncaster. SECOND CHANCE was the only movie in which screen tough guy Robert Mitchum played a prizefighter, and he really looked the part. Mitchum had experience as a boxer, official and unofficial. In November, 1951, he was on location filming ONE MINUTE TO ZERO and was involved in a brawl with the heavyweight boxer Bernie Reynolds, who fought Rocky Marciano and Joe Baksi. Mitchum proved he was a tough guy off the screen as Reynolds was taken to hospital while Mitchum walked away without a scratch.

The boxing match in SECOND CHANCE was filmed at the Plaza de Toros Bullring in Cuernavaca, Mexico, and was beset with problems, mainly due to the heat. Mitchum's screen opponent was Abel Fernandez, who had recently retired from the ring due to a near fatality. This was his film debut, which coincidentally had the story of an American boxer barnstorming the South American circuit trying to regain his nerve after a ring fatality in New York. Unfortunately for Mitchum, Fernandez occasionally forgot he was in a movie fight and not a pro fight, he knocked out Mitchum three times during the arduous all-day shoot in the boiling sun. Mitchum eventually flattens his movie opponent, and then goes over to his corner and enquires, "You okay, Rivera?" - no trash talking or histrionics back then in the fight game. Opponents showed respect. Fernandez later appeared in THE HARDER THEY FALL, but got type-cast playing Indians in television westerns before landing a leading role in the TV hit "The Untouchables".

The bad guy in SECOND CHANCE is another ex-boxer Jack Palance, who also fought Joe Baksi. Method actor Palance got carried away in his fight scene with Mitchum aboard the cable car, but Mitchum retaliated and Palance vomited after taking a right hand in the stomach. Palance frightened the life out of me when I was a child, the menacing voice, sinister grin, almost plastic facial features and intense air of menace about him are well served in this 3-D action thriller. Every time Palance makes an entrance, "Bad Man" music plays, as if we couldn't work out that he is a psychopath, hissing and virtually spitting evil every time he's in a scene with Linda Darnell. For someone so athletic, Palance never seems to be able to catch up with the fleeing Darnell, who is wearing very high heels on cobblestones. Palance is hindered in his chase by the local peasants, who conveniently always seem to get in his way, as he knocks their wares over. Palance confesses to Darnell that he's always had the hot's for her, and would be willing to forget about silencing her if she goes away with him (but wouldn't Spilato then send another hit-man to get them both?)

The climax aboard a stationary cable car thousands of feet in the air is very exciting, but recently came back to haunt me while on holiday in Matlock, Derbyshire. The wife and I were sitting hundreds of feet in the air in a cable car, which had come to a deliberate halt so the tourists could enjoy the marvellous view, when I suddenly thought of what happened to the cable car in SECOND CHANCE. I immediately had a panic attack which would have made Woody Allen look brave, unlike the plucky English couple in the cable car, who look like they have wandered into this movie from the set of THE LADY VANISHES. I love the way health and safety hadn't yet been invented in 1950's films. Mr. Woburn, a harmless middle-aged pipe smoking genial gent, scampers up the steps of the disabled cable, and climbs on top of it - 70,000 feet up - to survey the severity of the situation. He doesn't even blink at the possibility of losing his balance, and he still has his pipe in his mouth. When Linda Darnell collapses, Mrs. Woburn immediately takes over and asks the conductor for the First Aid kit, which seems to consists of just one item, the smelling salts, which she coincidentally needed.

Look closely at the fiesta dance sequence. Everybody seems to have overdosed on Happy Pills, except for just one extra, the 18 year old George Chakiris. He is observing a very sensual display of illicit dancing, with an expression that reads, "I could do that - if only the producers had given me a second chance!" Still toiling in bit parts in Hollywood musicals, it would be another decade before George got his chance to shine, in WEST SIDE STORY.

The best part of the movie is the Linda Darnell-Jack Palance chase sequence, up and down the cobbled streets of a Mexican village. Bizarrely, Palance appears to be moving in quick motion, while Darnell and all around her are walking in normal motion. You'll think twice about getting in a cable car after seeing this enjoyable 1950's flick, the only thing I didn't like was the dismal pastel Technicolor used.

These are the last spoken words in this movie, before it ends rather abruptly. They characterize the whole affair accurately. Second Chance is a beautiful movie, the locations in Mexico look superb and made me yearn for my next holiday, despite the faded colors. In the middle there is a long sequence of a typical fiesta with fireworks and a surprisingly lascivious and suggestive dance scene – just for the fun of it. The action moves on to a spectacular old suspension railway which I also found impressive and entertaining.

Unfortunately the story development is not good. It looks like nobody could decide what kind of movie this should be. It starts out like a film noir, then becomes a dreamy romance before turning into a classic, full fledged disaster flick with a suspended cable car full of different characters (look how all passengers assemble on the rear platform without the whole thing keeling over as I expect it should). Every part is OK in itself, but the different pieces do not tie together well.

Anybody who is interested in old movies, where locations, objects and events may or may not have symbolic significance will like this Technicolor movie made by RKO studios in its last stages of existence.