The Big Boodle (1957)
Errol Flynn is most known for his swashbuckling pizazz in the 1930s, of course, but as his career dwindled he became embroiled in all kinds of controversies, including sleeping with underage girls, sympathizing with the Nazis, and becoming drinking buddies with Fidel Castro.
The last of these matters here, for "The Big Boodle" might be the first film made entirely in Cuba by a US film company, and Flynn is clearly at home. Two years later he would make a now famous odd film, "Cuban Rebel Girls," where he befriends the rebels in their uprising. So this is an important precursor, and it's truly interesting in many ways. It's a crime film with shades of a late film noir infecting most of it. Flynn plays an American who gets in trouble, and has to go it alone with a couple of dangerous women around him. Classic noir stuff. But of course it's late in the cycle, just before "Touch of Evil" which is the symbolic end to the classic noir era.
So there are lots of scenes outside in Havana (great architecture and American cars), some cuban music (nothing totally memorable), and a general mood of that amazing pre-Castro era where Americans and Cubans mixed like oil, water, and rum. For that alone it's worth seeing. But it's worth saying the Flynn is actually terrific in his role as a tired but determined American out to clear his name and save his life.
The other key player in this whole enterprise (a low budget movie with big budget looks) is the cinematographer Lee Garmes, a true veteran and the man who shot "Detective Story" and "Caught" which are both cinematically brilliant. Garmes and Flynn make an unlikely collaboration (and I have no idea whether they were friends) but they make this movie actually rather workable. Is it
"When you want something done right, you do it yourself." IN a way that's what these filmmakers did. The story is the biggest hurdle--there isn't much to worry about or get involved in as it goes. Even the final climax at a famous old fort above town is more about the photography and movement of characters than any sense of who might shoot who.
A curiosity and not a waste of time, but nothing remarkable.
Errol Flynn is most known for his swashbuckling pizazz in the 1930s, of course, but as his career dwindled he became embroiled in all kinds of controversies, including sleeping with underage girls, sympathizing with the Nazis, and becoming drinking buddies with Fidel Castro.
The last of these matters here, for "The Big Boodle" might be the first film made entirely in Cuba by a US film company, and Flynn is clearly at home. Two years later he would make a now famous odd film, "Cuban Rebel Girls," where he befriends the rebels in their uprising. So this is an important precursor, and it's truly interesting in many ways. It's a crime film with shades of a late film noir infecting most of it. Flynn plays an American who gets in trouble, and has to go it alone with a couple of dangerous women around him. Classic noir stuff. But of course it's late in the cycle, just before "Touch of Evil" which is the symbolic end to the classic noir era.
So there are lots of scenes outside in Havana (great architecture and American cars), some cuban music (nothing totally memorable), and a general mood of that amazing pre-Castro era where Americans and Cubans mixed like oil, water, and rum. For that alone it's worth seeing. But it's worth saying the Flynn is actually terrific in his role as a tired but determined American out to clear his name and save his life.
The other key player in this whole enterprise (a low budget movie with big budget looks) is the cinematographer Lee Garmes, a true veteran and the man who shot "Detective Story" and "Caught" which are both cinematically brilliant. Garmes and Flynn make an unlikely collaboration (and I have no idea whether they were friends) but they make this movie actually rather workable. Is it
"When you want something done right, you do it yourself." IN a way that's what these filmmakers did. The story is the biggest hurdle--there isn't much to worry about or get involved in as it goes. Even the final climax at a famous old fort above town is more about the photography and movement of characters than any sense of who might shoot who.
A curiosity and not a waste of time, but nothing remarkable.