Cristi_Ciopron
In a way, Stroheim belonged to the same class of giants like Robinson, Fresnay, Gabin, Simon and Welles; yet in another way he was a character actor, just like Duryea and much more so than, say, Robinson. Robinson made a similarly—themed flick around the same time as THE GREAT FLAMARION, and a comparison of the two leading performances would be telling (Duryea was in that movie, too). That one is also a movie about an oldster's thirst for happiness and love.There is, in people of whatever condition, an innate longing and thirst for life, love and happiness; this axiom explains many of their actions. Those who are winners on earthly terms are often those who manage to suffocate these thirsts in themselves; and, alas, some of those who, on the contrary, give free way to these natural aspirations will finish bad.An elderly man, Flamarion, with a wealth of sadness and loneliness and reclusion, gets a glimpse of this possible happiness and love; and the hope that his life might be redeemed and transformed in human terms. Which, since we are made of earth, is a natural wish. So, this Flamarion is tempted and seduced by a younger broad who wishes to get rid of her drunkard husband (played by an outstanding Duryea). Flamarion accepts to do the job. The script says he should of trusted less. As a meditation on the psychological predetermination of the human in general, Mann's movie is not without its merits.Quite well written, intensely misogynistic, directed by Mann, played by Stroheim, Duryea and Mrs. Hughes, the story of Flamarion is an intensely interesting and very watchable, endearing and bitter drama about a loner's vulnerability. It has the format, common to other similar movies, of the dying man's confession. Duryea specialized in scoundrels and bums; here, his role isn't altogether different, but the situation of the character prompts, I believe, the viewer's sympathy. Stroheim being financially generous with Duryea right after he decided to murder him is a striking scene. The facts narrated are, in their coarseness, heartrending; the vulnerability of the loner, the thirst for happiness, the unspeakable solitude—the script has the dignity of not approaching this heartbreaking stuff by the usual noir clichés—the coincidences, etc.. It's more of a tale of vulnerability and revenge —than one of misfortune and bad luck.Stroheim does his routine, that of the glacial Prussian officer or dignified, devoted butler. In its restraint and limpidity, it is a cartoon. Nonetheless, very enjoyable for Stroheim buffs like myself, who like to see it given maximum screen time. It is Duryea who makes an impressive role here.Mrs. Hughes has, at times, a lousy diction.The title of the movie, and the name of the leading character, are wonderfully chosen. The script kicks ass, while only the coarseness of Stroheim's acting leaves a bit of an acrid aftertaste—compared to guys who did similar parts (Robinson, McMurray, Nicholson), Stroheim seems unable to play his character to the hilt, to express the hesitations and change and murderous determination; his Prussian officer was a vaudeville soldier, his devoted butler was a bit of a vaudeville butler—and so is his murderer. As a matter of fact, Stroheim gave his roles a glimpse of Expressionism, so it worked with Renoir—to a lesser degree with Wilder—and even less with Mann (the differences of the scripts are to be considered, as well …). Nonetheless, on screen Stroheim kicked ass; and he truly does it as Flamarion, too. The tautness of the script is delightful, one of the best noir scripts I have ever encountered, and I'm addicted to such movies, as years of IMDb reviews already testify.
MartinHafer
Early in his career, Erich Von Stroheim was well known for his temperament and excesses--so much so that his once celebrated career was practically in ruins by the 1940s. Because his star power had faded so, he was forced to act in a few relatively low budget films that were surprisingly good--much better than you'd expect. Part of this was due to Von Stroheim's acting, but it also was fortunate that he was paired with a young but very talented director (Anthony Mann). Because of his success with films like THE GREAT FLAMARION, Mann went on to direct many wonderful films and Von Stroheim had a mild resurgence in his prospects.The film begins with a murder at a theater in Mexico. A short time later, a badly wounded Von Stroheim is discovered by the lone person still in the theater and Von Stroheim tells his story about why he committed the murder. Since you know that the murder occurred, there isn't a lot of suspense about the whole thing, but the film did a wonderful job of making the viewer actually care about him and understand why he felt compelled to kill this particular woman. The sweet and lovely Connie, you learn, is one horrible lady and her character is exceptionally interesting and gritty--sort of like an evil Noir femme fatale. She is so compelling to watch that this helps to elevate the film well above the ordinary.Overall, a very entertaining film that nearly earns an 8. Fascinating character studies and a great script help make this one a keeper.
jotix100
Anthony Mann was the right choice for bringing this adaptation of a Vicky Baum's story to the screen. Mr. Mann was an innovator whose presence on any movie heralded wonderful things. He doesn't disappoint in this story of love, betrayal and murder that is set among the vaudeville circuit of those years.We are introduced to the Great Flamirion, a man who is a sharp shooter, as he performs his act with the assistance of the Wallaces, a couple that move around the stage, as he shoots at different objects Connie and Al are holding. Flamirion is a relic of that circuit; he is a man of a certain age who has sworn off women from his life. Connie, the scheming half of the Wallaces, has another thing in mind.Connie insinuates herself to Flamirion because she can't take anymore of Al's drunkenness. Flamirion falls for this beautiful woman with a passion he didn't know he had in him. The end result is that Connie wants to get rid of her husband with the assistance of Flamarion. In the meantime, Connie falls in love with a younger man, Tony, who is part of a cycling act. When all of Connie's plans are executed, she disappears because as she tells Flamarion, they must lay low for a while. She decides to go home to Minnesota, but that's only an excuse to leave with Tony on a tour South of the border, where she is sure the old man will not find her. But as fate would have it, Flamirion finds her.Erich Von Stroheim, a distinguished director himself, plays Flamarion with panache. He captures the turmoil Flamarion feels when he is abandoned by the scheming Connie, in a great performance. Mary Beth Hughes is perfect as Connie. Dan Duryea plays the drunk Al Wallace with relish. Lester Allen appears as Tony.The film is enhanced by the wonderful camera work by James Brown, whose black and white photography reflects the rich life of the theater. Alexander Lazlo's musical score matches the action. Ultimately, the film works because the way Anthony Mann sets the action in so many interesting angles that is hard to take one's eyes for fear of missing something from what he put in the film.
