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One of the most scathing indictments of American culture ever produced by a Hollywood filmmaker, Academy Award-winner Billy Wilder's Ace in the Hole is legendary for both its cutting social critique and its status as a hard-to-find cult classic. Kirk Douglas gives the fiercest performance of his career as Chuck Tatum, an amoral newspaper reporter caught in dead-end Albuquerque who happens upon the story of a lifetime-and will do anything to ensure he gets the scoop. Wilder's follow-up to Sunset Boulevard is an even darker vision, a no-holds-barred expose that anticipated the rise of the American media circus.
The character of newspaperman Chuck Taylor (Kirk Douglas) is best summed up by an astonished bystander (herself no soft touch): "I met a lot of hard-boiled eggs in my time, but you--you're 20 minutes!" Meet the "hero" of Billy Wilder's corrosive 1951 classic Ace in the Hole (a.k.a. The Big Carnival), a former big-time reporter whose reputation is so tarnished he's now at an Albuquerque rag, chasing down local-interest stuff. Until, that is, a local miner gets stuck in a cave--a situation that Taylor not only exploits but actually manipulates, the better to improve his career chances. Wilder got the idea for the movie from the real-life media circus that followed the Floyd Collins story (Collins was trapped in a cave for over a week in 1925). Needless to say, the opportunities for displaying greed and venality are fully drawn out by Wilder; indeed, the film looks unbelievably prescient from a modern perspective of media overload.
Although Wilder had scored a success with Sunset Boulevard just a year earlier, he misread the public's ability to stare into the merciless mirror he held up to them in Ace in the Hole. The movie bombed. Paramount changed the title to The Big Carnival, thus wrecking one of Wilder's most acidic puns, but it didn't help. It also doesn't matter: Ace in the Hole is one of the truly grown-up movies of its time, and age has only improved it. Wilder's ear for cynical dialogue is honed to its sharpest point, and Kirk Douglas has one of his best parts, which he attacks with customary ferocity. Jan Sterling plays the hard-nosed wife of the trapped man, with Porter Hall as Douglas's publisher--the lone voice of decency in the film's cruel parade. Admirably, Wilder takes this all the way down the line: the ending of the movie might be the best in-your-face finish since Public Enemy. --Robert Horton
This gem was rejected by audiences not ready for a loathsome protagonist, but later generations have come to recognize it for the brilliant classic it is. Read morePublished 24 days ago by RLM
Get this story line right out of today’s mad social media driven desperate cry for recognition in a sullen, indifferent world. Read morePublished 1 month ago by Alfred Johnson
Billy Wilder directed this gem.A 1951 film of rare insight for its time.
Way ahead of its time a pointed satire of media,greed and ambition. Read more
A great, prophetic movie. When it was released the Media cried foul, accusing Mr. Wilder of being overly cynical of the Media. Read morePublished 4 months ago by William D.
Corny and melodramatic the first 20 or so minutes, after that you saw great acting and an interesting plot.Published 5 months ago by Penelope Penworthy
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You echo my thoughts on this film perfectly, although I still enjoy "The Apartment" & "Double Indemnity" slightly more than this film.
This has been my #1 most wanted film on DVD for going on 10 years and it's finally just about here. The inclusion of the documentary and... Read More
Apr 30, 2007 by Eric J. Peterson | See all 4 posts