While the film's title cards feature a copyright claim, a notice was not properly filed, and in 2007 the United States Copyright Office ultimately rejected the notice.[4][5]
Plot
The film
Police Lt. Leonard Diamond is on a personal crusade to bring down the sadistic gangster Mr. Brown. He is also dangerously obsessed with Brown's girlfriend, the suicidal Susan Lowell. His main objective as a detective is to uncover the fate of a woman called "Alicia" from the crime boss's past.
Mr. Brown, his second-in-command McClure, and thugs Fante and Mingo kidnap and torture the lieutenant, then pour a bottle of alcohol-based hair tonic down his throat before letting him go. Diamond eventually learns through one of Brown's past accomplices, Bettini, that Alicia was actually Brown's wife. Bettini suspects that Alicia was sent away to Sicily with former mob boss Grazzi, then murdered, tied to the boat's anchor, and permanently submerged. Diamond questions a Swede named Dreyer, who was the skipper of that boat but now operates an antiques store as a front, bankrolled by Brown. Dreyer denies involvement and does not want to disclose anything to Diamond, but is nonetheless murdered by McClure shortly after leaving his shop later that day.
Diamond tries to persuade Susan to leave Brown and admits he might be in love with her. He shows her a photo of Brown, Alicia and Grazzi together on the boat. Susan finally confronts Brown about his wife and is told she is still alive in Sicily, living with Grazzi.
Brown orders a hit on Diamond. However, when his gunmen Fante and Mingo go to Diamond's apartment, they mistakenly shoot and kill Diamond's burlesque dancer girlfriend Rita instead. Diamond sees an up-to-date photo of Alicia but realizes it was not taken in Sicily due to the presence of snow on the ground. This leads Diamond to suspect Brown did not kill Alicia but his boss Grazzi instead. Diamond is able to track Alicia to a sanitarium, where she is staying under another name. He asks for her help.
Meanwhile, Brown's right-hand man, McClure, wants to take over. He plots with Fante and Mingo to ambush Mr. Brown, but they betray and murder him. With McClure dependent upon a hearing aid, Fante and Mingo dismantle it and gun down McClure in pantomime silence, unable to hear his pleas for mercy.
At police headquarters, Brown shows up with a writ of habeas corpus, effectively preventing Alicia testifying against her husband. Brown also takes a box to Fante and Mingo, believing it to be a large sum of money, while they are hiding out from the police, but the box turns out to contain a bomb that apparently kills both of them.
Brown shoots Diamond's partner, Sam, and kidnaps Susan, planning to fly away to safety. However, Mingo survives the assassination attempt by Brown, and he confesses to Diamond that Brown was behind all the murders while sobbing over the body of his cohort. Alicia is able to help Diamond figure out that Brown took Susan to a private airport where he intends to board his getaway plane.
However, Brown's plane does not show up and the film climaxes in a foggy hangar shootout. Susan shines the fog lamp from Brown's car in his eyes, effectively blinding him, allowing Diamond to arrest him. The final scene shows the silhouetted figures of Diamond and Susan in the fog.
The film was initially called The Hoodlum based on a story by Philip Yordan. It was originally going to be directed by Hugo Fregonese for producer Milton Sperling.[6] Sperling tried to cast Spencer Tracy for the lead.[7] The script was reportedly in great demand with Yordan apparently turning down offers of $75,000.[8]
Eventually the film was a co production between Theodora, the production company of Cornel Wilde and Jean Wallace, and Security, a company of Phil Yordan and Sidney Harmon.[9] Wilde changed the title to "The Big Combination" and Jean Wallace suggested it be shortened to "The Big Combo".[10]
Jack Palance was originally cast opposite Wilde. Filming was brought forward to start September 7, because of studio space availability. Palance dropped out of the film, claiming he wanted a week off after finishing Victor Saville's The Silver Chalice (1954) with Virginia Mayo and Paul Newman in his first movie role. Another source says Palance was unhappy his wife was not cast in the second female lead.[11] He was replaced by Richard Conte. Conte's casting meant the start date for another film, Cry Vengeance, had to be pushed back.[12]
The film also marked the conclusion of Helen Walker's film career; she was consigned to a small role in The Big Combo.
The film was released on Blu-ray by Olive Films in 2013 with a restoration completed by UCLA Film & Television Archive and the Film Foundation.[13] A new HD restoration was completed in 2018 by Arrow Films in the UK.[14]
Most film noir movies feature scores that are orchestral, with strings. In contrast, The Big Combo is one of the few that have a score with brass and trumpets and with woodwinds and saxophones.[citation needed]
In a scene, pianist Jakob Gimpel (credited as Jacob Gimpel) appears playing Chopin's Scherzo No. 3, Op. 39. In a previous one his performance of the same piece had been heard from a recording.
Reception
Critical response
The airport conclusion to the film demonstrates John Alton's cinematographic style
The staff at Variety magazine liked the film's direction, music and photography, despite "a rambling, not-too-credible plot." They wrote, "Performances are in keeping with the bare-knuckle direction by Joseph Lewis and, on that score, are good. Low-key photography by John Alton, one of his best,[15] and a jazz-derived score by David Raksin with solo piano by Jacob Gimpel are in keeping with the film's tough mood."[16]
A pair of late 20th century critics compared the quality of The Big Combo to Fritz Lang's The Big Heat as one of the great film noir detective classics in terms of style.[17]
Legacy
The film has since received critical acclaim, with the airport scene being considered one of the most iconic images in film history.
Retrospective assessments
In 2004 Chris Dashiell on the website CineScene found the dialogue "run of the mill" but praises the film's director, writing that "Lewis had a remarkable ability to infuse poetry into the most banal material, and The Big Combo is one of his best efforts... it's not as startlingly inventive as Lewis's best film, Gun Crazy (1949), but it's a quality B-film, satisfying and dark."[18]
Film critic Ed Gonzalez lauded the film in his 2006 review, writing, "Shadows and lies are the stars of The Big Combo, a spellbinding black-and-white chiaroscuro with the segmented texture of a spider's web ... John Alton's lush camera work is so dominant here you wouldn't know Joseph H. Lewis was also behind the camera. The story doesn't have any of the he-she psychosexual politicking that juices the director's Gun Crazy, but that's no loss given this film's richer returns. The set-pieces are fierce, as is the Casablanca tweak of the last shot, and Wallace's performance—a sad spectacle of a hurting creature caught between light and dark, good and evil—is one of noir's great unheralded triumphs."[19]
The review aggregator Rotten Tomatoes reported that 93% of critics gave the film a positive review, based on 14 reviews, with a weighted average of 7.00/10.[20]
^Schallert, Edwin (Sep 16, 1953). "Warners, Metro Slate African Subjects; Jimmy Wakely Back in Cinema". Los Angeles Times. p. B9.
^SCHALLERT, EDWIN (Oct 12, 1953). "Drama: 'Hannibal' Lurks as Big New Italian Undertaking; Phillip Terry Resuming". Los Angeles Times. p. B9.
^Schallert, Edwin (23 June 1954). "'Big Combo' Will Star Cornel Wilde; Vanessa Brown Debates Musical". Los Angeles Times. p. B7.
^THOMAS M. PRYOR Special to The New York Times.22 June 1954. "PALLADIUM STARS SOUGHT FOR MOVIE: History of Famous London Music Hall Would Include American Entertainers". p. 24.{{cite news}}: CS1 maint: numeric names: authors list (link)
^HEDDA HOPPER (July 9, 1954). "Jean Wallace to Act Opposite Her Husband". Los Angeles Times. p. B6.
^"MOVIELAND BRIEFS". Los Angeles Times. Sep 1, 1954. p. 21.
^THOMAS M. PRYOR (Sep 1, 1954). "PALANCE LEAVES 'BIG COMBO' FILM: Richard Conte Will Replace Actor in Co-Starring Role -- Prologue for '7 Year itch'". The New York Times. p. 32.
^Kemp, Philip. International Dictionary of Films and Filmmakers. Vol 4: Writers and Production Artists, New York-London, 2000.
^Variety. Staff film review, December 31, 1954. Last accessed: March 18, 2024.
^Silver, Alain, and Elizabeth Ward, eds. Film Noir: An Encyclopedic Reference to the American Style, film noir analysis by Carl Macek, page 29. Woodstock, New York: The Overlook Press, 3rd edition, 1992. ISBN0-87951-479-5.
