Ruthless (1948)

Good story, Not enough for a whole film

Beautiful, moving film.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Ruthless (1948)A great, layered melodrama, with flashbacks and male and female rivalries and a really strong narrative thread. There are a bunch of interesting actors at work who never had huge careers, the main man being familiar to me from "Mildred Pierce" two years earlier, Zacharay Scott. The director, though, is a favorite noir director of mine, Edgar Ulmer, who had a string of great films in the late 1940s. So this is one of them, though not quite a noir.In fact, this is a kind of financiers movie, which isn't actually a genre thank God. But the weakest part of the film (at least for a non-Wall Street viewer) is a lot of talk about business deals. Luckily, you don't need to follow them to the letter, because it's the characters--their tricks, their greed, their games--who make it come alive. And of course there are women involved (compelling ones like Diana Lynn), and memories of a childhood girlfriend, so we feel something for the good friend of the leading capitalist male, and even for Sydney Greenstreet, who plays an aging businessman, even amusing.The whole enterprise gets fairly involved and makes you pay attention, which is good, and leads to a pretty spectacular last scene off the pier.

This may be Edgar G. Ulmer's masterpiece. RUTHLESS is a terrific noir/melodrama - sharply written (by the to-be-blacklisted Alvah Bessie and Gordon Kahn), consistently beautifully photographed (by the underrated Bert Glennon), and truly adventurous in its editing and flash forward-flash backward construction.Zachary Scott is the "ruthless" title character, but the title is more a cheap shot than anything else; Scott's Vendig is more an emotionally bankrupt, pathological character than a villain per se. The narrative takes pains to reveal - gradually - the series of events from childhood through adulthood which affected his perverse makeup, making for a fascinating character study. Subtle revelations and plot twists come about every fifteen minutes, but they're deliberately ambiguous when they hit the screen, forcing the viewer to pay close attention as the truth of the situation is revealed. This technique alone puts RUTHLESS way ahead of any other Poverty Row melodrama of the period and cements Ulmer's reputation as a thoughtful stylist.Louis Hayward plays a sort of Greek chorus, an often acquiescent voice of conscience/best friend/nemesis who keeps the episodic story moving along. Diana Lynn (in two roles), Martha Vickers and Lucille Bremer each give terrific performances as the various women who appear, disappear, and reappear in the lives of both men. All are sharply drawn, a testament to the determination of Bessie, Kahn and other blacklisted writers to put strong female characters on screen in defiance of the Production Code, which seemed to encourage either submissive or predatory roles for women.And as if all that isn't enough, Sidney Greenstreet drops in and sets the screen on fire in every sequence he appears in. A classic coiled spring, his portrayal of a similarly greedy corporate boss is perfectly slimy, and provides a genuine shock when he suddenly grabs Lucille Bremer by the hair and jerks her backwards for a kiss. Likewise, a later sequence where Bremer drags him in front of the mirror so she can brutally compare him to her new, younger lover is unforgettably painful.RUTHLESS sits comfortably alongside DETOUR, THE MAN FROM PLANET X and THE STRANGE WOMAN, other Ulmer gems of note. A great movie.

The combination of Edgar G. Ulmer (of "Detour" notoriety), Zachary Scott, Sidney Greenstreet, Raymond Burr and Martha Vickers, under the title "Ruthless," promises a fairly robust slice of film noir. Alas, what one gets is a faintly Citizen-Kaneish look back over the life of a heartless tycoon (Zachary Scott, who, whatever his strengths, was no Orson Welles). It's a puzzling movie. Scott was a poor child (Burr briefly plays his dad, dressed up to look like a carnival barker) who saved the life of a wealthy girl, whose family then took him under its wing. This, for some reason, became his sole act of altruism, as he turned into a self-centered, manipulative ladder-climber. The story does manage to keep one's interest, but just barely; Greenstreet provides some welcome slices of ham. But the script is tedious, the stylishness nonexistent. If this is your kind of movie, by all means enjoy, but don't mistake it for something it isn't. What it isn't is a tense little shocker along the lines of Anthony Mann's Raw Deal or Railroaded (which I foolishly thought it might be).

Excellent drama about a poor boy who is adopted by a rich family after saving their daughter from drowning. Given all the benefits of wealth and society, he uses the people who care about him and give him his breaks, especially the women he meets. Zachery Scott is chilling in his mentally perverse portrayal of a tycoon that is more in league with Norman Bates than William Randall Hurst. Diana Lynn (the Sandra Bullock of her day) is wonderful as the woman he had saved as a girl and who's heart he would break in his rise to success. There is a twist in the plot mid-way that will be a treat to Lynn fans, though I would have liked to seen more of her in the second half. The entire cast is compelling and the soundtrack is appropriately eerie. Very rare to find this on VHS or TV, so if you find it anywhere, get it, rent it, buy it, tape it, watch it.