Hellen I like the storyline of this show,it attract me so much

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Jakoba True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

kidboots Agree with the other reviewers - the sets are cheap, the music is cheesy but stay with it, it has the sort of the plot that would not be out of place in an "Alfred Hitchcock Presents" episode. At the time John Bromfield, who would soon be better known as "The Sheriff of Cochise", was the most known star - Martha Vickers was a 1940s glamour girl famous for her role in "The Big Sleep" and also for being one of Mickey Rooney's ex wives, Robert Hutton didn't have much of a career to lose in the first place.Bromfield plays slimy Rik DeVilla, the "big bluff" who sees vivacious widow Valerie Bancroft (Vickers) as the answer to his prayers. She is wealthy and, more importantly, has a heart condition and before Rik's arrival, has been going downhill fast and not expected to live!! Unfortunately for Rik, once they meet, her health picks up and she is rejuvenated by Rik's high spirits!! That is not good for his plans - he will have to do something drastic!! Not everybody thinks he is the answer to a girl's dream - Valerie's secretary, Joan, has her doubts. He initially thought she was the merry widow and so tried to wine and dine her, however once he meets the real Valerie he sticks to her like a leech!! Not only is he substituting Valerie's heart pills for plain bicarb soda, Joan is convinced he is having an affair with a luscious exotic dancer Fritzie. Rosemarie Bowe was just gorgeous and why she couldn't have had a decent career based on her beauty alone is mystifying. She reminded me of a more sultry Mary Murphy - maybe marrying Robert Stack the next year made her rethink her career.He picks a fight with both Valerie and Joan - it is all part of a vicious plan to create an alibi with Fritzie when things get sticky later on but one person they hadn't counted on was Fritzie's extremely jealous husband, who, unknown to the others, starts his own vendetta with very complicated results!! Don't judge it - just watch it!!

arfdawg-1 When scheming fortune hunter and erstwhile Latin lover Ricardo De Villa learns that a wealthy but sickly widow has terminal heart disease, he seduces and marries the vulnerable millionairess. Playing the part of a faithful and doting husband, he carries on a torrid affair with sexy exotic dancer Fritzi Darvel while avoiding the suspicious eyes of her jealous bongo-playing husband. When his wife's condition seems to go into remission, the impatient De Villa decides on action that will hasten her seemingly inevitable death.The plot sounds awfully racy but these are the 50s.This is sort of a film noir and it's worth a watch, despite the very bad prints that are available.Good story.Good acting.

MartinHafer The plot of "Big Bluff" is very contrived and hard to believe. A rich lady has a bad heart and has only, at most, a year to live. Despite this, the doctor and the lady's personal secretary BOTH think it's best not to tell her—and keep this from her! Instead, she's told to take a relaxing vacation—and they hope this might prolong her life a few months more. Little do they know that this retreat is the last thing she really needs.While in Los Angeles, hardly a place to go to relax, she meets with a money-grubbing Don Juan. When she finally does learn she only has a short time to live, she proposes to the Lothario and you know she's in for a rough time with the bum. As to what happens from there, try seeing the film for yourself, though the plot makes little sense—as why would a man want to kill a rich wife who is about to die anyway—especially so early on in the film.The bottom line is that this film is awfully broad in its writing and acting—so broad that it's hard to believe any of this. The entire film comes off as cheaply made and obvious. It's a shame, as the plot could have been good and the no-name cast could have been better if given a chance. Plus, the direction was shoddy—whenever lines are misspoken or actors talk over each other, the scenes are no re-shot! A few simple re-shoots would have really made the film look better. Because of this, even though the film had a dandy and ironic ending, the overall effect is like a badly directed episode of "Alfred Hitchcock Presents"—not a real honest-to-goodness movie.By the way, for you car buffs out there, this is probably the only movie in film history where a guy is being chased by a Nash Metropolitan—perhaps the least threatening and silliest pursuit car in history. In modern terms, this would be akin to a Mini Cooper giving chase!

bmacv Sibling rivalry can be a dreadful thing; look at Joan Fontaine and Olivia De Havilland. Sometimes, however, it approaches farce. W. Lee Wilder probably should have stayed in New York making purses, but, no, he had to follow his little brother Billy to Hollywood. And in Hollywood, maybe he could have been a passable producer (two early Anthony Mann movies, The Great Flamarion and Strange Impersonation, bear his credit). But, no, he had to direct, showing the world how vast was the disparity between young Billy's talents and his own inadequacies. Billy, long estranged, used to call him `a dull son of a bitch,' and he was being generous: W. Lee isn't merely dull, he's barely competent.The Big Bluff rehashes a plot that Wilder had used in 1946 for The Glass Alibi. Merry widow Martha Vickers has a bum ticker and only a few months left to live. Off she goes to California with paid companion Eve Miller only to cross paths with slick operator John Bromfield (he brags about business interests in Central America but he's just a gigolo). The prospect of coming into her money at her early death emboldens Bromfield to court and marry her.But there are obstacles. Her secretary/companion and her physician (Robert Hutton) harbor suspicion of Bromfield's motives. And Bromfield's mistress Rosemarie Stack, half of a sultry nightclub act with her jealous husband Eddie Bee, doesn't cotton to his romancing another woman. But the impatient Bromfield, not content with letting nature take its course, starts tampering with Vickers' pill supply. When, paradoxically, she seems to thrive under his care, he concocts a back-up plan, and the movie jutters along to a twist ending, à la Alfred Hitchcock Presents.The plot is hand-me-down James M. Cain, done proud by the cheesiness of its direction (it's like a stock-footage festival). Wilder lets his cast get away with the stiffest readings of the literal-minded script (Martha Vickers would never nab many statuettes, but Howard Hawks goaded her into acting as Carmen Sternwood in The Big Sleep). Yet every so often there's a dark glint that keeps one watching: Bromfield and Stack plotting in a shadowy hotel staircase; Bromfield and Vickers toasting with schnapps at Scandia or `lo-balls' at La Rue. Something saves The Big Bluff from sinking to the very bottom of the barrel; it sure wasn't Wilder.