The Great Flamarion

Told in flashback story of a trick-shot artist who gets involved with his assistant who will do anything to get what she wants. Directed by Anthony Mann and produced by Billy Wilder this is a by the book melodrama of one woman destroying the lives of every man she comes in contact with. Far from a bad movie the movie suffers from the fact that we know the ending (Erich Von Stroheim is telling what happened as he lays dying). Even if we had seen this from the beginning we'd know it ends bad but we wouldn't be able to work out several of the twists that knowing the end imparts.If there is any real flaw beyond knowing how it ends, its the casting of Von Stroheim who seems too old and a bit too stiff for his man led astray. Still its the work of two cinema legends doing out what they do best and thats turning out a decent little film. Definitely worth a look if you're in the mood for a good film noir.

Erich von Stroheim plays a crack marksman who's duped into killing the husband of his scheming lover in this decent little Noir that suffers from the fact that there are no likeable characters. We're supposed to feel for Stroheim's title character, but he's such a cold individual before succumbing to Mary Beth Hughes' charms that we never really sympathise with him.

Or so the von Stroheim character begins his flashback narration. This movie has never quite worked for me. Anthony Mann was a superb director. Von Stroheim was too. And he was a fine actor in "Grand Illusion" and an interesting character actor in "Sunset Boulevard." Dan Duryea was good at playing heals. But he isn't one here, exactly. He drinks too much but we have an idea why. Mary Beth Hughes is persuasive as a cold-hearted gold-digger. But it never rings true. Stroheim is not sufficiently sympathetic. If his role had been played by Peter Lorre, the movie might have worked. As it is, everything is set up before we even begin to watch it.

They could be French or American: all (or almost all of them) the parts which were given to Von Stroheim were demeaning ones where he was humiliated ,fooled ,cuckold,a human wreck."La Foire Aux Chimères" (1946) "Pièges "(1939) "Portrait d'un Assassin" (1949) "Sunset Blvd" (1940) and this movie are good examples but they are not the only ones. Made By Anthony Mann,whose westerns are classics ,this is an interesting ,if very derivative ,thriller.A gorgeous woman (Mary Beth Hughes)uses Stroheim to get rid of her alcoholic hubby to get her hands on Eddie ....and probably other men. Watch it for Stroheim:this gentleman who once claimed he was Empress one of Elizabeth of Austria's ladies in waiting's son is always fascinating.

This movie is not unforgettable, but enjoyable. I am very surprised to see that i am the only person to comment it. I saw it last summer when i had nothing to do during one afternoon with my sister, no great actors but a fine story that keep you stuck on the screen until the end. One thing to add: it was very rare during the golden age of hollywood to see a leading actor who was not as handsome as the others. So rent it if you find it, it's worth the viewing! I hope that my English is correct, anyway you will forgive 'cause I am French.

Despite the title suggesting a comedy Erich von Stroheim actually plays the sort of role Emil Jannings played in the twenties. In the third of a quartet of quickies to pay his medical bills after a serious illness we actually see the famous neck being shaved with a cutthroat razor before going onstage to perform the act with firearms that makes the film worth watching. It's good to see him share the screen with a young Dan Duryea a few months before the latter clashed with Edward G. Robinson in 'Scarlet Street' in this early film directed by Anthony Mann, which shows flashes of the promise he later fulfilled.

Von Stroheim is superbly cast as a stage sharpshooter who succumbs to the charms of his scheming assistant. Though some may not appreciate the actor's ramrod-spined, Teutonic demeanor, such bearing is useful in the portrayal of stoicism and all the pitfalls that it engenders. Von Stroheim's dearth of emotionality makes all the more credible his character's inability to discern the falseness of personalities, and there is a unique poignancy in watching him go through the paces of a festering realization of perfidy. The plot, however, is pedestrian and, related in flashback, all the more predictable. Von Stroheim mavens should appreciate the movie, though, as should devotees of Dan Duryea, who plays a hard-drinking, done-wrong hoofer.