Ace In The Hole
Though it doesn’t revolve around a murder or a heist, Ace in the Hole remains a definitive film noir. Bitter, caustic, and unremittingly dark, it prophesied our age of journalistic madness as it focused on a literal “media circus” developed by a story-hungry press.
In a virtuoso performance that equals his turn in Vincente Minnelli’s The Bad and the Beautiful, Kirk Douglas stars as Chuck Tatum, a down-on-his-heels newsman who desperately takes a job at a tank-town Albuquerque paper. He stumbles on the headline of a lifetime after the owner of a roadside diner is trapped in an abandoned mineshaft while hunting for Indian artifacts. Envisioning a Pulitzer Prize and a return to the big time in New York, Tatum ruthlessly controls the story, befriending the terrified victim (Richard Benedict), romancing his slatternly wife (Jan Sterling), and cynically working local authorities and big-city editors. Then things start to come apart…Continue Reading
The print journalist drama is a bona fide subgenre; the most popular films like All The President's Men or, more recently, Spotlight are about the crusading journalist overcoming obstacles in pursuit of the truth. Often more interesting is the cynical side of the coin, about the corruption of truth, but those films don’t usually connect with the public or award-givers as easily. The best of the genre would be a couple of masterpieces -- Billy Wilder’s Ace in the Hole and to some extent Orson Welles’ Citizen Kane -- but one film that went under the radar upon release and holds up very well is Shattered Glass. The 2003 docudrama was written and directed by Billy Ray, based on the true story of Stephen Glass (Hayden Christensen), a manipulative young reporter for the respected, 100-year-old highbrow magazine New Republic. When it appears that one of his stories was fabricated, an investigation by the editor, Chuck Lane (Peter Sarsgaard) leads to the embarrassing revelation that actually at least twenty-seven articles he wrote were completely made up.
Glass is the kind of passive aggressive guy who continually says "I’m sorry” or worse, asks his colleagues “Are you mad at me?,” putting them in the position to make him feel better, even when he’s wrong. He seems to have a knack for finding interesting characters and angles to political and cultural stories, and though he cozies up to anyone who could help his career, he’s especially cuddly to the women he works with (in an asexual way). But as a journalist he’s respected as a real wunderkind, apparently traveling the country finding witnesses to his colorful and offbeat pieces. When the beloved editor Michael Kelly (Hank Azaria) is fired for trying to overly defend his staff from management, he is replaced by the less lovable Lane. Glass writes an entertaining piece about a computer hacker convention that catches the admiring eye of the editor for Forbes Digital online magazine. He passes it to a writer, and here is where the Woodward and Bernstein of the story emerge. A pair of tech writers (Steve Zahn and Rosario Dawson) start to investigate Glass’ sources and find nothing but holes. While Glass can not account for all his shoddy note-taking, Lane becomes the only one who can take on the popular writer, as his colleagues, especially writer Caitlin Avey (indie darling Chloë Sevigny) have fallen under his spell.Continue Reading
Witness for the Prosecution
Almost forty years after her death in 1976, Agatha Christie is still the queen of the mystery novel. Her characters, including Hercule Poirot and Miss Marple, are seemingly just as popular and prolific today (mostly on television now) as they were when she first invented them. Though many of her stories have been adapted for film, only two--by my recollection--have lasted the test of time. In '74 Sidney Lumet made a solid Poirot story, Murder on the Orient Express, thanks to a great cast led most memorably by Albert Finney. But even better was back in ’57 when Witness for the Prosecution was directed by the superstar director Billy Wilder. First appearing as a short story, Christie later turned it into a play. But Wilder and his two co-screenwriters, Larry Marcus (who would go on to co-write the brilliant screenplay for The Stunt Man) and Harry Kurnitz (the play A Shot in the Dark) would open it up for the screen and add the wonderful role of Miss Plimsoll for actress Elsa Lanchester, giving her an opportunity to share the screen with her husband Charles Laughton. Ironically, a TV remake and most stage adaptions of the play since have included the role, a Wilder invention, not a Christie one.
In England, big-time defense attorney (barrister) Sir Wilfrid Robarts (Laughton) is on the verge of forced retirement due to health issues. He has a full-time nurse, Miss Plimsoll (Lanchester), on his case, nagging him to rest and give up his vices. But when Leonard Vole (Tyrone Power) appears at his door, about to be indicted on murder charges, Sir Wilfrid is too intrigued to pass the case up. Vole, a handsome and married playboy (and American, though that is never acknowledged), is accused of murdering a much older woman who took a shine to his charms and conveniently had just changed her will, making him the beneficiary to her fortune. Vole reasonably explains his side, and it does appear to be circumstantial evidence stacked up against him. Vole's passionate German wife Christine (Marlene Dietrich) backs up his story. But when the trial comes along, strangely Christine is called by the prosecution, claiming Vole admitted to killing the old lady and painting a terrible picture of both herself and her husband. The great Wilfrid looks to be defeated until a greedy Cockney woman sells him some current love letters exchanged between Christine and her secret lover. The new evidence shows that the wife lied and it is enough to prove Vole’s innocence and end the trail. But Sir Wilfrid knows it was all too easy and there is something amiss. And here we get the great, shocking M. Night Shyamalan twist that Agatha Christie and her ilk specialized in.Continue Reading