Billy Wilder - Ace in the Hole (1951), 7/10

As Charles "Chuck" Tatum puts it: "bad news sells best". The arc of Chuck and Leo's intertwined fates in the film is directly linked to the story itself, a meta-narrative illustrating the evils of journalism while telling a fittingly personal story via Chuck's perspective, or what Chuck appropriately identifies for us: "One man - that's human interest". The human interest story, whether looking at Chuck or Leo, chooses to focus on the pitfalls of the human experience while brushing against hope but never relinquishing control. Chuck chooses money and success over humanism and compassion at every turn, proving much too late to save anyone including himself. The real world casualties inherent in dishonest journalism are part of the story's satisfaction, as is the finality of its closing. The just as real villains and antiheroes behind human tragedies are on full display, pulling no punches. This commitment to honesty, again in a meta-fictional sense, contributes to what was Billy Wilder's commercial failure with the film, yet is simultaneously what gives it its lasting power with film enthusiasts.

The all too real power struggles exhibited through Chuck and Lorraine, Kretzer (the sheriff), the newsmen, Smollett, and most clearly Nagel, portray mindful narrative representations rather than retreating into generalities. As Chuck again outlines for us explicitly: "The circus is over".