Os Poderosos Também Caem

In trying to jumpstart itself, this movie is somewhat heavy handed at the beginning, taking one notably big and questionable dramatic risk, but gains power slowly and turns into something of a monumental mini-epic with John Payne's changes of hair coloring registering his slow and merciless journey toward a godless end...what a performance, but it's not as good as Gloria McGehee's as the unwanted wife Lorry - which is about as good as you'll ever see from an actress on screen, period. Also great is Robin Morse as Johnny the Organization Man, a wonderful low key performance...where has this movie been all our lives? It's powerful, at times difficult to watch, brutal, and worth the ride.

Dalton Trumbo, who scripted this picture pseudonymously, was so anxious to make his political and sociological points that he (nearly) let the story and characters get away from him. The plot moves, not naturally or logically, but in order to serve the author's purposes. Characters who have been steadfast and dependable, whatever their motives, betray those close to them. The fulfillment of one's ambition requires unprincipled, corrupt behavior, with only indifference or contempt for those who are hurt in the process. The sole semblance of loyalty is found among criminals. Trumbo's viewpoint clearly grows out of his personal experiences, and distorts what might have been a highly effective portrayal of a powerful man who lost more than he gained. The character of Matt Brady is a given: arrogant, thoughtless, insensitive, impetuous. But why? As much as these characteristics help to move the story where the script wants it to go, we are offered no insight into the main character's psyche, and little of significance concerning his background. And his drunken insistence that he and the woman of the streets he picks up are to become man and wife that very night (and thereby provide another key element for the plot) is - to say the least - a bit hard to take. Yet with it all, this film has more than a few effective moments. Those, and the substantial theme being presented, will leave the viewer with much to ponder.

Lazy writing and directing. John Payne overacts to try to compensate. Payne was losing his fight with Hollywood and the bottle by the time this part came around.

There is no insight into what drives the main character, so you really don't have any hate or sympathy for him. You just can't wait for the inevitable end.

A political fixer rises to the top of a corrupt city and beyond.

This is a movie that cries out for a bigger budget than the cheapjack values the production gets. After all, Brady (Payne) is supposed to be swimming in money and influence as head of a political machine. So we need to see some of that gilded life in order to appreciate his final tumble from the heights. Instead, we get endless seedy conflabs with his cronies or his long-suffering wife. In that sense, the production more resembles a TV drama, say The Untouchables, than a feature length movie.

Also undercutting the effect is actor Payne's heavy-handed turn as the boss. Reviewer Plankton's correct, Payne's incessant growling is almost comical at times. It's an unfortunate one-note performance that over-does the toughness of a political fixer without the necessary slickness. Then too, writer Trumbo's script only hints at the social effects of Brady's corrupt regime without the dirty details—a rather strange outcome for a leftist writer, but then this is the Cold War 1950's.

On the plus side is obscure actress McGehee's sensitive turn as Brady's unloved wife. Her plain-faced predicament is handled with considerable feeling that, to me, is the film's only memorable part. Also actor Bishop does well as Brady's lawyer and confidant. Too bad his career was cut short by an untimely passing.

Perhaps I was expecting too much, but the movie came as an unfortunate disappointment. I'm just sorry a studio with resources like Warner's, along with a Sam Fuller, didn't get the material first.

I originally saw the film when it came out and only saw it again recently. Scenes from the film have stayed with me and I wasn't disappointed when it ran on TV. John Payne, The Boss, was a good Hollywood portrayal of a crime boss. The bad guys are really bad and the good guys are few. Crooked politics, payoffs, rub-outs, double-crosses, brawls, you name it and it's used. Payne was a popular actor in the 40's but I didn't appreciate him at the time. Based on this film I will try to see some of his others. If you liked Asphalt Jungle you probably would also like The Boss.