Robert Aldrich | 107 mins | TV | 4:3 | USA / English | PG
Jack Palance is an actor wanting out of his studio contract in this stagey film noir.
The entire film takes place in his house, with a parade of supporting characters coming and going to variously persuade him to stay, persuade him to quit, or persuade him to do other things (saucy!) It’s not just the limited location that makes it feel stagey, though, but also the style of dialogue and the performances. I’m never quite able to put my finger on it, but there’s a certain way playwrights seem to pen dialogue that just feels like it’s from theatre, and The Big Knife (which is adapted from a stage play) has it.
Palance is very good, playing against expectations as an actor who sold out his artistry and is now struggling to be brave enough to stand up to the overbearing studio execs, who have an additional hold over him. Rod Steiger is a bit OTT as the studio’s head, Stanley Hoff, but then the character’s meant to be a bit like that. Somewhat heavy-handed pillorying of a real studio boss? Perhaps. Also worth watching is Rear Window’s Wendell Corey as Hoff’s assistant, Smiley Coy. His is a more subtle performance, conveying his opinions and enacting his schemes mostly with looks. I suppose you don’t get much less stagey than that.
Partially driven by a seeming twist that’s obvious from the outset (which, in fairness, the film reveals only 40 minutes in), the story never quite comes alive. Palance and Corey make parts worth watching, but at other times it’s a bit of a slog, not helped by an awful score that chimes in now and then, loudly. Expansive cinematography (so much headroom — was it shot to be cropped for widescreen? Perhaps it was) combats any feeling of claustrophobia the single location and oppressive moral situation might have leant it.
The Big Knife is not the finest film noir (certainly, if anyone’s looking for familiar genre tropes, you’ll find few here), nor the finest behind-the-sets view of moviemaking, but some sporadically strong performances prevent it being meritless for the patient viewer.