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Ace in the Hole, also known as The Big Carnival, is a 1951 American film noir[2] directed by Billy Wilder. The film stars Kirk Douglas as a cynical, disgraced reporter who stops at nothing to try to regain a job on a major newspaper. The film co-stars Jan Sterling and features Robert Arthur and Porter Hall.[3]

Ace in the Hole
theatrical release poster
Directed by	Billy Wilder
Written by	Walter Newman Lesser Samuels Billy Wilder
Story by	Victor Desny (uncredited)
Produced by	Billy Wilder
Starring	Kirk Douglas
Cinematography	Charles Lang
Edited by	Arthur P. Schmidt
Music by	Hugo Friedhofer
Distributed by	Paramount Pictures
Release date	June 14, 1951 (1951-06-14)
Running time	111 minutes
Country	United States
Language	English
Budget	$1.8 million
Box office	$1.3 million (rentals)[1]

It marked a series of firsts for auteur Billy Wilder: it was the first time he was involved in a project as a writer, producer, and director; his first film following his breakup with long-time writing partner Charles Brackett, with whom he had collaborated on The Lost Weekend and Sunset Boulevard, among others; and his first film to be a critical and commercial failure.[4]

The story is a biting examination of the seedy relationship between the press, the news it reports and the manner in which it reports it. The film also shows how a gullible public can be manipulated by the press. Without consulting Wilder, Paramount Pictures executive Y. Frank Freeman changed the title to The Big Carnival just prior to its release.[5] Early television broadcasts retained that title, but when aired by Turner Classic Movies – and when released on DVD by The Criterion Collection in July 2007 – it reverted to Ace in the Hole.

In 2017, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[6]

Plot

This article's plot summary may be too long or excessively detailed. (June 2021)

Chuck Tatum is a newly sober reporter whose washed-up career in NYC leads him to head West, out of money and options. Tatum stops at the Albuquerque Sun-Bulletin and offers himself to the publisher, Boot, as a "$250-a-week newspaperman" he can have for $50. Skeptical, Boot hires Tatum.

Tatum stays sober for a year. On assignment with the newspaper's young photographer, Herbie Cook , they learn about Leo Minosa, a local man trapped in a collapsed cliff dwelling.

Tatum and Cook get close enough to talk to Leo to pass him food and drink. Cook photographs him as Tatum tries to cheer him up.

Tatum senses an opportunity to manipulate the rescue effort for publicity. After filing an initial report on the accident, he persuades local sheriff, Kretzer, to give him exclusive access to Leo in return for reportage that will guarantee Kretzer's reelection.

Construction contractor, Smollett, says it will take 12–16 hours to shore up the existing passages and get Minosa out, but Tatum and Kretzer convince him to drill from above, which will take a week and keep Tatum on newspaper front pages nationwide.

Lorraine Minosa, Leo's wife, is eager to leave Leo and their struggling restaurant, but as tourists flock to the rescue site, the financial windfall leads her to go along with Tatum's scheme.

Cook loses his idealism as he dreams of selling pictures to Look or Life. Tatum and Cook quit the Sun-Bulletin and Tatum talks a New York editor into hiring him to report exclusively from the scene for $1,000 a day and his old job back.

As the days pass, the rescue site becomes an all-day carnival with rides, games, and songs about Leo. Tatum starts drinking again and hooks up with Lorraine.

Five days into the event, Leo develops pneumonia and is given 12 hours to live. Tatum sends a news flash: Leo will be rescued win 12 hours, but when he tells Smollett to stop drilling and shore up the walls, he learns that the vibration from drilling makes this impossible.

Tatum fights with Lorraine and she stabs him with a pair of scissors. Mortally injured, Tatum takes the local priest to Leo to administer the Last Rites and Tatum orders the crew to stop drilling. He tells he crowd that Leo died and to pack up and leave. As the carnival and crowd pack up and move out en masse, Lorraine among them.

Fired by his New York editor, and slowly dying from the stab wound, Tatum calls him and tries to confess to killing Leo by delaying the rescue, but the editor hangs up on him without hearing his confession.

Cast

Production

Development

The film's plot has similarities with two real-life events that ended in tragedy. The first involved W. Floyd Collins, who in 1925 was trapped inside Sand Cave, Kentucky, following a landslide. A Louisville newspaper, the Courier-Journal, jumped on the story by dispatching reporter William Burke Miller to the scene. Miller's enterprising coverage turned the tragic episode into a national event and earned the writer a Pulitzer Prize. Collins's name is cited in the film as an example of a cave-in victim who becomes a media sensation. The second event took place in April 1949. Three-year-old Kathy Fiscus of San Marino, California, fell into an abandoned well and, during a rescue operation that lasted several days, thousands of people arrived to watch the action unfold. In both cases, the victims died before they were rescued.[7]

After the film's release screenwriter Victor Desny sued Wilder for plagiarism because he had contacted Wilder's secretary Rosella Stewart to propose a film based on the story of Floyd Collins in November 1949. Wilder's attorneys responded that not only did an oral plot summary not constitute a formal story submission but the Collins case was historical in nature and as such was not protected by copyright laws. In December 1953, Judge Stanley Mosk ruled in favor of Wilder and Paramount. Desny appealed and in August 1956 the California Supreme Court ruled his oral submission had been legitimate. Wilder's attorneys settled that same month, paying Desny $14,350 (equivalent to $143,000 in 2021).[8][5]

Writing

In the original script, Tatum colluded with the local sheriff. Joseph Breen of the Hays Code office strongly objected to the on-screen depiction of a corrupt law enforcement officer and insisted Wilder add dialogue making it clear the man eventually would be made to answer for his actions.[9]

Filming

The final cost of the film was $1,821,052, of which $250,000 was paid to Wilder as writer, producer, and director.[10] Its exterior set, (35°23′49″N 109°01′09″W), which was constructed 19 miles west of Gallup, was the largest non-combat set ever constructed at the time. It measured 235 feet (72 m) high, 1,200 feet (370 m) wide, and 1,600 feet (490 m) deep and included an ancient cliff dwelling, collapsed cave, roadside stands, parking lots, and a carnival site. Underground scenes were filmed in a mock-up at the Paramount Studios on Melrose Avenue in Hollywood.[11] More than 1,000 extras and 400 cars were utilized in the crowd scenes. After the film was completed, Paramount charged admission to the set.[12]

Frank Cady's character identifies himself as a salesman for Pacific All-Risk Insurance, a fictitious company featured in Wilder's 1944 film Double Indemnity.

Soundtrack

Jay Livingston and Ray Evans wrote the song "We're Coming, Leo," performed by a vocalist and band at the carnival.[13]

Reception

Critical response

At the time of its release, critics found little to admire. In his review in The New York Times, Bosley Crowther called it "a masterly film" but added, "Mr. Wilder has let imagination so fully take command of his yarn that it presents not only a distortion of journalistic practice but something of a dramatic grotesque ... [it] is badly weakened by a poorly constructed plot, which depends for its strength upon assumptions that are not only naïve but absurd. There isn't any denying that there are vicious newspaper men and that one might conceivably take advantage of a disaster for his own private gain. But to reckon that one could so tie up and maneuver a story of any size, while other reporters chew their fingers, is simply incredible."[14]

The Hollywood Reporter called it "ruthless and cynical ... a distorted study of corruption and mob psychology that ... is nothing more than a brazen, uncalled-for slap in the face of two respected and frequently effective American institutions – democratic government and the free press."[15] Variety was more positive, noting "the performances are fine. Douglas enacts the heel reporter ably, giving it color to balance its unsympathetic character. Jan Sterling also is good in a role that has no softening touches, and Benedict's victim portrayal is first-rate. Billy Wilder's direction captures the feel of morbid expectancy that always comes out in the curious that flock to scenes of tragedy."[16]

The film has found new respect among critics. Roger Ebert of the Chicago Sun-Times wrote in 2007, "Although the film is 56 years old, I found while watching it again that it still has all its power. It hasn't aged because Wilder and his co-writers, Walter Newman and Lesser Samuels, were so lean and mean [with their dialogue] ... [Kirk Douglas'] focus and energy ... is almost scary. There is nothing dated about [his] performance. It's as right-now as a sharpened knife."[17]

Dave Kehr in the Chicago Reader called it "cold, lurid, and fascinating"[18] and Nathan Lee of The Village Voice wrote, "Here is, half a century out of the past, a movie so acidly au courant it stings."[19]

Time Out London wrote, "As a diatribe against all that is worst in human nature, it has moments dipped in pure vitriol."[20] TV Guide called it "a searing example of writer-director Billy Wilder at his most brilliantly misanthropic" and adds, "An uncompromising portrait of human nature at its worst, the film ... stands as one of the great American films of the 1950s."[21]

Ed Gonzalez of Slant Magazine wrote that the film "... allowed Wilder to question the very nature of human interest stories and the twisted relationship between the American media and its public. More than 50 years after the film's release, when magazines compete to come up with the cattiest buzz terms and giddily celebrate the demise of celebrity relationships for buffo bucks, Ace in the Hole feels more relevant than ever."[22]

In his Slate review, Jack Shafer wrote in 2007, "If film noir illustrates the crackup of the American dream ... Ace in the Hole is an exemplar of the form."[2]

The film was included in film critic Roger Ebert's list of "The Great Movies" in 2001.[23] In September 2008, Empire Magazine published its list of the Top 500 greatest movies of all time. With votes from 10,000 readers of the magazine along with 500 key film critics and 150 film industry figures, this film is ranked number 385.[24] In 2015, the film ranked 100th on BBC's "100 Greatest American Films" list, voted on by film critics from around the world.[25]

In 2022, Eddie Muller, founder and president of the Film Noir Foundation, in a Facebook "Noir or Not" segment stated that Ace in the Hole incorrectly gets labeled as a film noir because of director Wilder's other films Double Indemnity and Sunset Boulevard, and because of the cynical storyline. Muller feels that Ace in the Hole is without many of the characteristics normally associated with film noir, and that it's more of a film about sleazy journalism.[26]

Awards and nominations

Wins

• National Board of Review Award: Best Actress – Jan Sterling; 1951.
• Venice Film Festival: International Award for Best Director – Billy Wilder; 1951.
• Venice Film Festival: Best Music – Hugo Friedhofer; 1951.

Nomination

• Academy Award for Best Story and Screenplay – Billy Wilder, Lesser Samuels and Walter Newman; 1952.
• Venice Film Festival: Golden Lion – Billy Wilder; 1951.

Legacy

The 1992 The Simpsons episode "Radio Bart" largely references the storyline of Ace in the Hole, featuring Bart Simpson lowering a portable radio into a well, and using a wireless microphone to broadcast his voice from it. He convinces the public that a boy named "Timmy O'Toole" had fallen into it, prompting news coverage and charity campaigns.[27][28] Writer Jon Vitti noted that series creator Matt Groening "came in out of nowhere and just gave me, start to finish, the whole story."[29]

See also

• Media circus

References

Notes

Bibliography

• Sikov, Ed (1998). On Sunset Boulevard: The Life and Times of Billy Wilder. New York: Hyperion. ISBN 0-7868-6194-0.

Further reading

• Armstrong, Richard (February 2002). "Ace in the Hole". Senses of Cinema. Archived from the original on October 3, 2009. Retrieved January 5, 2010.
  • Freely accessible essay by Richard Armstrong, who published a biography of Wilder in 2000.
• Maddin, Guy (July 16, 2007). "Ace in the Hole: Chin Up for Mother". The Criterion Collection. Retrieved January 5, 2010.
  • Maddin is a filmmaker; publication of this essay accompanied the 2007 DVD release of Ace in the Hole by The Criterion Collection.

External links

• Ace in the Hole at the American Film Institute Catalog
• Ace in the Hole at IMDb
• Ace in the Hole at the TCM Movie Database
• Ace in the Hole at AllMovie
• Ace in the Hole at Rotten Tomatoes
• Ace in the Hole film trailer on YouTube
• Ace in the Hole: Noir in Broad Daylight an essay by Molly Haskell at the Criterion Collection

На других языках

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[de] Reporter des Satans

Reporter des Satans (Originaltitel: Ace in the Hole) ist ein US-amerikanisches Filmdrama von Billy Wilder aus dem Jahr 1951. Die Geschichte beruht auf einer Begebenheit aus dem Jahr 1925, bei der Floyd Collins bei dem Versuch einen neuen Eingang zur Crystal Cave (Sand Cave), Kentucky, zu finden, in einer Höhle eingeschlossen wurde und nach wochenlangem Medienrummel starb.

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- [en] Ace in the Hole (1951 film)

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[ru] Туз в рукаве

«Туз в рукаве» (англ. Ace in the Hole) или «Большой балаган» (англ. The Big Carnival) — фильм-нуар[1][2][3] 1951 года, высвечивающий беспринципность современной прессы. Первый фильм Билли Уайлдера, где он выступил сценаристом, режиссёром и продюсером. Лента не имела успеха в прокате, но со временем вошла в «золотой фонд» Голливуда.

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