Ace in the Hole (1951) Review

Unequivocally, Billy Wilder is one of the best writer-directors ever. His films not only entertained audiences but also provided incisive social commentary, as well as profound character studies. Known for his sharp wit, clever dialogue and ability to seamlessly traverse genres, he left an indelible mark on cinema. From ‘Double Indemnity’ and ‘Sunset Boulevard’, to ‘Stalag 17’, Wilder crafted stories that were both engaging and thought-provoking.

‘Ace in the Hole’ may be one of his best. A satirical noir, it follows journalist Charles Tatum, a jaded reporter with a tarnished career who lands a job at a small New Mexico newspaper. When he stumbles upon Leo, a man trapped in a cave while searching for Native American treasures, Tatum seizes the chance to revive his career by turning the rescue effort into a media circus. As Leo’s situation becomes increasingly dire, the film explores themes of media sensationalism, ethical compromise and the human cost of ambition.

It is a seedy, beautifully written film, resonating on multiple levels. Wilder’s screenplay- written alongside Lesser Samuels and Walter Newman- captures the essence of opportunism and moral decay in the face of disaster. Their narrative’s stark portrayal of human frailty and the ethical compromises made for personal gain creates a gripping narrative that holds a mirror to society's darker inclinations. The characters are meticulously crafted, each representing a facet of moral ambiguity and the lengths people will go to in order to seize their moment of glory.

The protagonist, Tatum, is a complex anti-hero whose cynicism and ambition drive the story. His moral descent and eventual realization of his own corruption are emblematic of the film noir tradition. Meanwhile, Leo Minosa, the trapped man, is the innocent victim caught in the crossfire of media exploitation, his deteriorating condition highlighting the human cost of sensationalism.

Lorraine, Leo’s wife, is opportunistically self-serving, her relationship with Tatum further emphasizing the film’s theme of moral ambiguity. Moreover, the corrupt local sheriff, seeking re-election, becomes complicit in Tatum's schemes, illustrating the intersection of media manipulation and political ambition. Throughout, he plays with a rattlesnake in a box, teasing it, feeding it; keeping it alive for his own ends, like Tatum keeps Leo trapped in the cave.

Practically everyone in the picture seeks to gain by exploiting the trapped man’s predicament. The film can thus be seen as a commentary on the commodification of tragedy, showcasing how jackals and vultures benefit from others' suffering. Moreover, the public's reaction to the cave-in is akin to attending a travelling carnival, satirizing the international obsession with real-life drama.

The area surrounding the cave literally becomes a circus, with Ferris-wheels turning and musicians singing, as Leo wastes away under the rubble. It is a spectacle of populist exploitation. In a modern context, mirroring our fascination with reality TV and docuseries. The reaction to Leo's plight in Wilder’s film parallels the public's response to Netflix series like 'Making A Murderer’ or ‘Tiger King’. Whereas nowadays one can buy Joe Exotic t-shirts and tote-bags, in Leo’s case one gathers outside his tomb with a hamburger and a coffee, like a scavenger awaiting scraps of carrion; awash in a voyeuristic frenzy, delighting in the extravaganza of someone else's despair.#

Moreover, the dialogue is filled with deliciously pulpy lines like “I don’t go to Church. Kneeling bags my nylons,” crackling with noiresque cynicism. This sharp, biting wit is a hallmark of film noir, and the screenplay is peppered with memorable lines, reflecting the characters' jaded worldviews. The dialogue not only serves to entertain but also deepens Wilder’s characterization, while enhancing the satirical tone.

On the technical front, Charles Lang’s artful cinematography makes efficacious use of stark, high-contrasting lighting, while his utilization of shadows and confined spaces heightens the film’s tension. He generates a palpable sense of entrapment through his dynamic camera movements and tight framing, conveying the claustrophobic atmosphere within the cave. This is juxtaposed with the bustling chaos of the circus above ground, creating a powerful contrast and enhancing the overall impact of the film. Lang's cinematography not only compounds the visual appeal of the film but also reinforces its thematic depth and emotional resonance.

In addition, Hugo Friedhofer’s score heightens the dramatic tension, underscoring the emotional beats of the narrative. Ambient sounds of the carnival and the increasingly frantic rescue efforts add to the immersive experience, while highlighting the absurdity of the situation. Further, the set decoration and production design are meticulously detailed, grounding the narrative in a palpable reality.

Moreover, Edith Head’s costume design plays a crucial role in defining the characters and their motivations. Tatum's routinely dishevelled appearance reflects his moral decay, while Lorraine’s flashy, attention-seeking outfits symbolize her opportunistic nature. The sheriff's uniform exudes a false sense of integrity, masking his complicity in the exploitation of the tragedy. These visual details contribute to the film’s overall critique of the human cost of ambition and media sensationalism.

Kirk Douglas stars as Tatum, delivering a powerful performance that ranks alongside his very best. Intense and charismatic, he perfectly captures Tatum's ambition and moral decline. Reminiscent of his frequent co-star Burt Lancaster’s stellar performance as the eponymous ‘Elmer Gantry’: Douglas is unsettlingly captivating. His nuanced work ensures that Tatum remains a compelling, albeit deeply flawed, protagonist.

Jan Sterling is similarly good as the femme fatal Lorraine, a gusty broad with dreams of dollars. Sterling brings a blend of opportunism and vulnerability to the role, captivating Lorraine’s survivalist instincts with aplomb. Her interactions with Douglas's Tatum are charged with tension and chemistry, highlighting the moral ambiguity and motivations of both characters.

In addition, Robert Arthur brings a believable naivety to the role of Cook, Tatum’s accomplice. Ray Teal, as the corrupt Sheriff, captures the essence of a man willing to compromise his ethics for political gain, while Porter Hall does fine work as Tatum’s editor, whose morality contrasts sharply with his subordinate’s reckless ambition. All the rest- from Richard Benedict as Leo to Frank Cady as visitor to the site of despair- cannot be faulted.

In conclusion, ‘Ace in the Hole’ stands as one of Billy Wilder's most incisive works. Its biting satire and noir sensibilities offer a scathing critique of media sensationalism and the moral compromises made in the pursuit of fame and fortune. The film's expertly crafted narrative, coupled with strong performances, sharp dialogue and technical prowess, make it a compelling piece of cinema. In short, ‘Ace in the Hole’ is a winning hand.