The Big Combo (1955)

User Rating:

7.6/10   

Director:

Joseph H. Lewis

Writer:

Philip Yordan (writer)

Release Date:

13 February 1955 (USA)

Genre:

Film-Noir | Crime | Drama

Tagline:

The Most Startling Story The Screen Has Ever Dared Reveal!

Plot:

Police Lt. Diamond is told to close his surveillance of suspected mob boss Mr. Brown because it's costing...

Plot Keywords:

One Man Crusade | Mistress | Murder | Killing Spree | Suicide Attempt

Cast

Cornel Wilde	...	Police Lt. Leonard Diamond
Richard Conte	...	Mr. Brown
Brian Donlevy	...	Joe McClure
Jean Wallace	...	Susan Lowell
Robert Middleton	...	Police Capt. Peterson
Lee Van Cleef	...	Fante
Earl Holliman	...	Mingo
Helen Walker	...	Alicia Brown
Jay Adler	...	Detective Sam Hill
John Hoyt	...	Nils Dreyer
Ted de Corsia	...	Ralph Bettini
Helene Stanton	...	Rita
Roy Gordon	...	Audubon
Whit Bissell	...	Doctor (scenes deleted) (as Whit Bissel)
Steve Mitchell	...	Bennie Smith, Boxer

Runtime:

USA:84 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono (RCA)

Certification:

West Germany:16 (nf) | France:-16 | Finland:K-16 | Sweden:15

Company:

Security Pictures

Trivia:

This film skirted the Production Code by making several not to subtle hints that Mr. Brown's henchmen, Fante and Mingo (played by Lee Van Cleef and 'Earl Holiman'), were a homosexual couple.

Goofs:

Continuity: When John Hoyt as Dreyer reaches into his desk for a gun, the contents of the desk on the insert close-up do not match the contents on the master shot.

Quotes:

Leonard Diamond: Do you know Mr. Brown?
Nils Dreyer: I had lunch with him last week. He's a very fine gentleman.
Leonard Diamond: He's a hoodlum.
Nils Dreyer: Because I have lunch with him, that is not a crime. I'll have lunch with anybody, I'm democratic. I'll even have lunch with you.

Movie Connections:

Referenced in Serenity (2005)

Near the end of the noir cycle, one of its most stylish, innovative films

The Big Combo may be the only film noir ever plugged on the I Love Lucy show (Cornel Wilde guest-starred in the episode which aired April 18, 1955). Coming late in the noir cycle and directed by Joseph Lewis, it seized a position as one of its most innovative and stylish titles. And, with the wizardly John Alton behind the camera, it kicks film noir's distinctive look up into another, rarefied dimension (Alton must have been emulating the Dutch Masters – spare traceries of light limn almost abstract patterns on the screen's primordial blackness).

The story, too, stays a primal one of obsession, lust and revenge. Ninety-six-fifty-a-week cop Wilde lives in a cheap flat across from a burlesque house, one of whose headliners (Helene Stanton) he occasionally `sees.' But his only passion is for nailing suave but savage crime boss Richard Conte. Iin a performance brimming with cool menace, Conte is fond of saying `First is first and second is nobody.' Wilde also harbors half-admitted fantasies of riding to the rescue of Conte's remote and unwilling mistress (Jean Wallace, Wilde's off-screen wife). Conte's so possessive that he assigns an intimate twosome of torpedoes (Lee Van Cleef and Earl Holliman) as her full-time bodyguards (since they're gay, he trusts them to serve as eunuchs). But when they fail to prevent her overdosing on pills, she falls into Wilde's hands at hospital and starts to babble about a woman called Alicia.

Another wild card is Conte's lieutenant Brian Donleavy, over the hill and hard of hearing, who chafes at playing second fiddle; he saw himself as heir to the organization when unseen capo Grazzi `retired' to Sicily. His grudge against his boss makes him reckless, placing the whole `combination,' or combo, in jeopardy. Wilde, meantime, has tracked down elusive Alicia, Conte's supposedly murdered wife (Helen Walker, the duplicitous psychiatrist in Nightmare Alley, in her last screen appearance); only she knows where the bodies are buried and can write her husband's death warrant....

The Big Combo counts as one of the more sadistic instalments in the cycle, but the mayhem and executions are played as big set-pieces, as flourishes; Lewis draws on Alton's full fetch of tricks (and in one memorable instance, on the sound editor's) to highlight but at the same time soften their nastiness. There's a streak of sadism in the casting, too: Both Wallace's attempted suicide and Walker's dissipation bring to mind the actresses' private troubles. Innovative and striking, The Big Combo comes as close as any film in the noir cycle to being an art-house triumph; it consolidates Lewis' reputation as an erratic director who was nonetheless capable – here, and with his Gun Crazy – of pulling off something unexpected yet extraordinary.