The Big Knife

Dir: Robert Aldrich. 1955. Starring: Jack Palance, Rod Steiger, Ida Lupino, Shelly Winters. English. Classics.

I get a real kick out certain big, strapping, "man's man" actors: Heston, Mitchum, Lancaster, Hayden and, most importantly, Jack Palance. Palance could work his way through those 50s monologues of seine-styled verbiage like Rosalind Russell on meth. If the modern-day film audience has trouble with his histrionic delivery, it’s surely because of the contemporary bias for realism within acting. To me, he's like the artist who manages to find the perfect curved line when representing action. Cartoonish? Maybe, but any comic book fan can tell you about the pleasure of a broad stroke. I prefer to look at that old-style melodramatic acting in which Palance excelled as the representation laid bare, a modernist nod to the fact that what's going on isn't real, but the emotions and thoughts are. He is the brutal signifier. And he was never better than in Aldrich's The Big Knife, a more masochistic film pleasure you’ll not likely find. The script is by James Poe, based on the play of the same name by Clifford Odets, whose work, when properly adapted as it is here, makes the more famous Tennessee Williams adaptations look like Sundance productions.

Palance plays a big-time Hollywood actor who's had his dreams replaced, piece by piece, with factory-line assembled product. Unfortunately for him, he knows what art is, but the Factory, in the body of Rod Steiger (one of the few actors who could go toe-to-toe with Palance up the tower of babble), has something on the actor, namely that he killed a child while driving drunk. Palance makes too much money for Steiger's hack producer, so he's forced to sign another 7-year contract of servitude. Due to his infidelity to both his art and their relationship, the actor’s wife, played by noir-babe Ida Lupino, is living separate from him with their child, and has threatened to leave for good if he signs on again. The misery becomes even more turbid when, like a pig to mud, Shelly Winters, playing the girl who was with Palance on that drunken night, threatens to reveal his dirty secret to the gossip columns. Steiger, not wanting to lose his golden goose, tries to get Palance to help kill Winters. The screen threatens to implode each time Palance and Steiger take a breath before launching into another tirade. With the aid of a bunch of booze, a lascivious harpy draining Palance's moral center (played by barrel-browed Jean Hagen), and a whole slew of master-servant dialectics between the royalty (Palance, Steiger) and their hanger-ons (the great character actors Everett Sloane and Wesley Addy, among others), the film reaches its moribund conclusion.

Continue Reading
Posted by:
Charles Reece
Jan 7, 2008 2:41pm
Always Free Shipping on
Amoeba Accepts Paypal - Start Digging!
Subscribe to Vinyl News
x Sign-up for emails, sales alerts & more:



New customers, create your account here. Its quick and easy!


Don't want to register? Feel free to make a purchase as a guest!

Checkout as Guest

Currently, we do not allow digital purchases without registration



Become a member of It's easy and quick!

All fields required.

An error has occured - see below:

Already have an account? Log in.


Forgot Password

To reset your password, enter your registration e-mail address.


Forgot Username

Enter your registration e-mail address and we'll send you your username.


Amoeba Newsletter Sign Up