The Big Bluff (1955)

***SPOILERS*** The sleaze ball con artist lady killer Ricardo De Villa, John Bromfield, and his unstable and jealous girlfriend Fritzie Darvel, Rosemarie Stack, get it and gets it real good in the end to trying to take advantage of heart patient and loaded with cash Valerie Bancroft, Martha Vickers, whom the sleaze ball, Ricardo, romanced off her feet and later married. Knowing that Valerie doesn't have long to live because of her heart condition that's being kept from her by her doctor Tom Harrison, Robert Bice, she's encouraged to living wild life of drinking smoking and partying by Ricardo hoping it will end her life a lot sooner then expected. So with her kicking off he and Fritzie can collect Valerie's millions when she's finally put to rest.It's Valerie's good friend Marsha Jordan, Eve Miller, who sees through Ricardo & Fritzie's sinister plans and tries to warn Valerie that her husband is not only no good, by cheating on her behind her back, but planning to do her in as well. No matter what Marsha does she can't convince Valerie that dreamboat Ricardo Is no good and even ends up getting kicked out of the beach house, only for a few days at most, by an outraged Valerie. That in her feeling that by breaking her and Ricardo up Marsha can get a crack at lover boy Ricardo so she can be his girlfriend. Still Ricardo can't wait for Valerie, despite everything he does to make it happen, to drop dead before her time which is about a year which Dr. Harrison gave her.***SPOILERS*** Planning to jump the gun in Valerie's impending death Ricardo comes up with this plan to murder her, real smart of his part, and then make it look like it was the result of a home invasion. That while he plants evidence that while that happened he was shacked up with Fritzie in some motel 100 miles away! It just happened that Fritzie's estranged husband and former dance partner Don, Eddie Bee, got wind of his wife's double crossing him for another man, Ricardo, and took matters as well as Fritzie's throat into his own hands making Ricardo's plan fall flat on its face. It's the very fact that Ricardo had an alibi of not being at the scene of Valerie's murder that, in his trying to cover his a**, convicted him of another murder that he in fact didn't commit!

This is an effective noirish suspense drama. The acting, direction, and cinematography are typical of 1950s low-budget productions but there are plenty of good scenes. After a slow start, the plot evolves into a modern morality tale where a scheming villain gets his payback. The print is inferior (Classic Film Noir, Volume 2) but the soundtrack is satisfactory.John Bromfield delivers a convincing performance as an unscrupulous gold-digging gigolo who seduces and marries a wealthy widow (Martha Vickers) who is seriously ill with only a few months to live. Much to his dismay, the marriage works wonders for her health and she improves so much that he is forced to hatch a diabolically clever plan to murder her.Of course, things quickly go wrong and lead to a terrific plot twist and surprise ending. Not classic noir, but a decent little movie with redeeming features.

W. Lee Wilder's THE BIG BLUFF will never be a threat to his brother Billy's genre-defining classic, DOUBLE INDEMNITY, but on its own terms it's a nifty little quickie with a good story and a nice trick ending.When it starts, this film looks so cheap -- I mean, Ed Wood cheap -- you're tempted to hang it up, but stick with it. It improves as it goes along. The writing and cast are perfectly adequate and it's more entertaining than a lot of big budget A pictures.An unusual feature of this film is a reversal of the usual noir femme fatale dynamic. Here it's a sexy guy, an "homme fatal" if you will, who seduces a rich, love-starved widow.Maltin's book (2003) doesn't even list this film, but it's included in the inexpensive 6-CD "Ultimate Film Noir Collection", which I recommend for its intriguing line-up of public domain B-picture rarities, which range from junk to cult classic B's (DETOUR, THE HITCHHIKER) to even a couple great ones (Welles' THE STRANGER).

The only other comment on this film lists a litany of reasons why not to watch it, generally because of unfavorable but irrelevant comparisons to Billy Wilder, the director's brother. I will give you a reason to watch it; it is effective. John Bromfield makes an effective gigolo and Martha Vickers, while not the most charismatic actress known, does a good job as the object of his affections. Watch this without taking a lot of baggage in with you and you will be satisfied. It has a nice twist at the end that you may guess, but probably not.