Ace in the Hole on DVD July 23, 2007
Posted by clydefro in : Classic Films, 1950s, Billy Wilder , trackback
In the Criterion Collection’s monthly newsletter, they ask a prominent figure associated with a previously released title to compose a list of ten favorite selections among the Criterion catalog. Even though it was just released this past week, I know for certain that I would choose their Ace in the Hole
At the first chance I had, I devoured every nook and cranny of the two-disc set. I was initially disappointed by the cover art, seemingly too simple and dull. When it was in my hands though, it seemed fittingly in-your-face. No complaints (though I still haven’t warmed to the figure-8 case design Criterion has adopted for double disc sets since their new logo switch last summer). Inside the case, we have a mock newspaper instead of the usual insert booklet, perfectly keeping with the film. Two lengthy essays, by critic Molly Haskell and the director Guy Maddin, make up the contents of the mini-paper and there are even advertisements to re-elect Escadero Sheriff Kretzer and for the rattlesnake hunt that proves crucial to the film’s main character, Charles “Chuck” Tatum, fearlessly embodied by Kirk Douglas.
The DVD transfer is very good, though not immaculate, and has a beautiful contrast. There are brief instances where the picture becomes soft, but certainly nothing distracting or disappointing. For your listening pleasure, Criterion has included a commentary with British film professor Neil Sinyard, co-author of Journey Down Sunset Boulevard: The Films of Billy Wilder. Sinyard has a very relaxed, easygoing voice and he provides a highly informative accompaniment to the picture (probably best heard after seeing the film though, as he does hint at things to come). He comes across as knowledgeable (despite mistakenly referring to Ace co-screenwriter Lesser Samuels as writing No Way Back, instead of the actual title No Way Out, the previous year) without turning the commentary into a dry lecture.
Indeed, there were several items of interest I learned from his commentary, notably that Sunset Blvd. party guest, and famed composer of songs like “Silver Bells” and “Que Sera, Sera,” Jay Livingston was the co-writer of the wry anthem “We’re Comin’ Leo.” Also, Sinyard astutely comments on many of the impressively subtle aspects of Wilder’s film, such as the full circle shots of Tatum at both the beginning and end of the movie in the Albuquerque newspaper office. Plus, he convinced me of the sexual relationship between Tatum and Jan Sterling’s Lorraine Minosa. Despite being a tad disappointed at one or two things omitted from the commentary, such as the failure to point out the possible connotations of the S&M Amusement Corp., overall, I was enthralled. I also appreciated that Sinyard couldn’t resist mentioning William Holden’s quip that Wilder had a “mind full of razorblades.”
Also on the first disc is the film’s original theatrical trailer, even identifying it by the briefly-released preferred title instead of The Big Carnival, which the film came to be known as after Paramount tried a happier, more cheerful alternative name when the first one didn’t attract moviegoers. The second disc of the set contains the bulk of the extra features. First up is film critic Michel Ciment’s hour-long interview documentary from 1980, Portrait of a “60% Perfect Man,” which also features brief comments from Jack Lemmon, Walter Matthau, and Wilder’s writing partner I.A.L. Diamond. It’s fun to watch, if not particularly enlightening until maybe the final segment, but Ciment is an incredibly passive interviewer. Of interest, parts of Wilder’s art collection are shown and we see the director still in possession of an almost manic energy, unable to sit still throughout the interview.
A 1984 interview with Kirk Douglas is here as well, wherein the actor repeatedly compliments Wilder and tellingly expresses his surprise that American audiences didn’t warm to Ace in the Hole while European crowds seemed to enjoy it much more. Douglas sees Tatum as slightly less inhumane than the impression I’d guess most viewers have of the character. Over thirty years after the film’s release, Douglas seemed to have the exact same speaking voice then as he did in 1951. What a virile, fit guy Kirk Douglas has always been. I mentioned this in another entry, but I saw him not too long ago and despite surviving numerous setbacks like a debilitating stroke, a death-defying helicopter accident and reconstructive knee operations, the man remains a titan. His voice is irreparably damaged by the stroke, but his spirit and energy are incredible for someone who’s ninety years of age.
Criterion has also included another Wilder interview, recorded at the American Film Institute in 1986 with George Stevens, Jr. playing silent observer to Wilder riffing on his beginnings in Hollywood, the need for directors who can read, and his thoughts on the studios. Neither of these pieces showcasing the director are as comprehensive as Volker Schlöndorff’s Billy Wilder Speaks, but both still make for welcome inclusions. The Ciment interview does a better job of showing Wilder’s daily routines, as we see him doing everything from yelling at a televised baseball game to opening a cigar while lying in a hammock. An audio interview with co-screenwriter Walter Newman by Rui Nogueira basically continues the Wilder lovefest and confirms the idea that several of the film’s trademark elements came from the director, including the blistering opening sequence of Tatum’s first visit to the Albuquerque Sun-Bulletin.
Finally, we’re rewarded with a welcome afterword from Spike Lee, whose work, believe it or not, owes a significant debt to Wilder. He shows us a framed lobby card of the film, in its The Big Carnival incarnation, autographed by Wilder and Douglas. There’s a funny passage in Cameron Crowe’s Conversations with Wilder, a must for fans of the director, where Wilder mentions that Lee had stopped by his office to have a few things signed and the elder filmmaker was surprised to learn that the man in his office was Spike Lee. Wilder didn’t know what the director looked like, though he had been a fan of his work. In the afterword on the Criterion disc, Lee makes the point that Ace in the Hole shares a prophetic vision of the media circus with Elia Kazan’s A Face in the Crowd.
Upon hearing Lee’s proclamation, I wanted to give him a huge bear hug since I too consider these two films as kindred spirits, among the best the decade had to offer. Though Cameron Crowe (who is thanked in the liner notes, but is conspicuously absent here) owes a substantial debt to Billy Wilder and is obviously a fond admirer of his films, I would nominate Spike Lee as a more likely heir to Wilder’s throne in modern filmmaking. Like Wilder, Lee is unafraid of taking bold steps in his films, even if he doesn’t share the same audience or critical popularity. He acknowledges in the interview the borrowing of Ace in the Hole’s final shot of Tatum collapsing to the floor for Lee’s own Malcolm X, a film which remains one of the key biography films of the past twenty years. Also on the disc is a stills gallery, showing several interesting behind-the-scenes photos of Wilder, Douglas, and Sterling, including what appears to be an actual deck of cards depicting the film’s doomed subject Leo Minosa as the ace of spades. What I wouldn’t give to have such a collectible.
It’s been a long time coming, but finally Ace in the Hole has made its way onto DVD. I’m anxious to see what kind of boost the release will mean for its reputation over the next few decades. Even after 56 years and repeated instances of life imitating art, the film still plays as very, very dark and unrelentingly cynical. Yet, I find myself loving it more on each viewing. I’m over the moon about Criterion stepping up to unleash the film to the masses. Such a high profile release guarantees it much more publicity and provides a greater awareness than if Paramount had simply slapped out a no-frills disc with an ugly cover (think of the atrocity that is the cover for The Miracle of Morgan’s Creek) and a bargain retail price.
Of course, they’ve had the chance to put out their own version for over a decade and haven’t so I’m thrilled Paramount came to their senses and licensed it to Criterion. For a company so used to putting out important, comprehensive editions of great films, Criterion may have outdone themselves here. This was a film completely unavailable on the home video market across the globe, rarely seen on television over the years and even less often under its original title. The quality of the movie and Wilder’s reputation should have warranted something more, but instead year after year went by without a release of any kind from Paramount. Now, finally, we’re rewarded with the Criterion set, a definitive look (though the inclusion of the animated short The Big Story would have been nice) at Wilder’s most daring film. Ace in the Hole, finally rescued.
Comments»
Kirk wears the black shirt, so it has to be good.
Can’t wait to see this one. I watched ‘A Face in the Crowd’ on a whim and enjoyed it tremendously. Interesting, the link between Wilder and Lee. They’re not two filmmakers I would ever have thought to connect.
Thanks for the comment. It took me a couple of days to realize that I should have mentioned Lee’s Bamboozled as a cousin to Ace in the Hole. Both are blistering, take no prisoners indictments of media and empty-headed audiences. I’ve never heard Spike specifically point out Ace in the Hole as a direct influence on that film, but since he’s a fan I’d say he surely had Wilder’s movie in mind when writing and directing Bamboozled. Unsurprisingly, both films flopped on release.
About a month ago, Spike Lee announced he’d be directing a revival of Stalag 17 on Broadway next year, possibly with Clive Owen in the lead role, so there’s definitely a shared affection in terms of ideology and material between the two men.
Bruce Willis was made to play the role.
Are you going to do a homage to Bergman. Just don’t make it as boring as his films. Man hits head on keyboards and dies, while reading blog.
I don’t know about Willis as Sefton and he’s obviously too old now anyway. It’ll always be Holden’s role as far as I’m concerned.
No, no, definitely nothing about Bergman from me. I’m still waiting for my Bergman epiphany, though I have a good deal left to explore.
I’m a big Clive Owen fan since “Close My Eyes” but he’s 33. Holden was 35-36. The character should be in his mid 20s. I guess you can get away with it on stage. Is it too late for Morgan Freeman to star in the “Bill Russell Story”?
Turner Classic Movie -
The Big Carnival (aka Ace in the Hole)
Sunday, August 26, 2007 10:15 PM