I've always liked Conte in most movies I've seen him. Only rarely does he disappoint. Who can forget him in The Godfather (1972) as the crime boss, Barzini? Well, The Big Combo is a warm up for that later role, it would seem one that shows just how devious and cold a character he can play as the crime boss, Mr Brown (what's interesting also, is the fact that we never learn Brown's first name).
Arguably, he and Cornel Wilde (as the cop, Leonard Diamond) share equal screen time, although I didn't go the trouble of timing it. So, it's toss up as to whether you think Wilde or Conte is the real star. From my perspective, Conte wins hands down but I think that's because, as a truly evil tough guy, he is able to present a truly stark contrast to the apparent ineffectiveness and frustration portrayed by Wilde with his increasingly desperate attempts to bring Brown to justice the last point being the whole basis for the main narrative. But there's no doubt: Conte had the juicier role to play with, and he did in spades.
There are film noir overtones with the very effective, very sharp shadows and keyed lighting to faces, in doorways, in silhouettes and such like. Perhaps, it's a bit overdone, but put it down to the director's enthusiasm, I guess. Where it lacks is with the femme fatales both of whom don't appear to be of that type at all: Jean Wallace as Susan Lowell is competent but subdued; she's supposed to be scared of Brown but appears to be simply bored most of the time. Helen Walker as Alicia Brown (Mr Brown's long-suffering wife) doesn't appear until late in the movie and resolves one of the two mysteries in this narrative: the one concerning her name. The other mystery concerns the disappearance of Mr Brown's boss, Grazzi, seven years earlier.
The dialog is good, but it's only Conte who makes it great from time to time. The action is also well done although by 2006 standards, it's stilted and again it's Conte who gets all the meatier scenes: when he tortures Diamond with McClure's (Brian Donlevy) hearing aid, when he evades McClure's trap and, most deliciously, when he brings his tough hit men (very youthful Lee van Cleef and Earl Holliman) their pay off for a job well done. It's worth seeing the movie just for those scenes alone. And, while on the subject of those two hit men, it's fascinating to see the homosexual innuendo play out between them; it's not usually seen in gangster movies, especially in the fifties.
The main characters are further supported by Robert Middleton (always good to see in drama); Brian Donlevy (a consummate actor and well-known face in many crime thrillers); and the ubiquitous Jay Adler (the character actor's actor, I think) as Wilde's side-kick.
Overall, however, I regard this film as a curiosity more than a successful mystery/thriller like The Maltese Falcon (1941) or The Big Sleep (1946 and 1978), perhaps. But, I'm glad I saw it. And, like I said, it's worth seeing for Conte's performance alone...
Arguably, he and Cornel Wilde (as the cop, Leonard Diamond) share equal screen time, although I didn't go the trouble of timing it. So, it's toss up as to whether you think Wilde or Conte is the real star. From my perspective, Conte wins hands down but I think that's because, as a truly evil tough guy, he is able to present a truly stark contrast to the apparent ineffectiveness and frustration portrayed by Wilde with his increasingly desperate attempts to bring Brown to justice the last point being the whole basis for the main narrative. But there's no doubt: Conte had the juicier role to play with, and he did in spades.
There are film noir overtones with the very effective, very sharp shadows and keyed lighting to faces, in doorways, in silhouettes and such like. Perhaps, it's a bit overdone, but put it down to the director's enthusiasm, I guess. Where it lacks is with the femme fatales both of whom don't appear to be of that type at all: Jean Wallace as Susan Lowell is competent but subdued; she's supposed to be scared of Brown but appears to be simply bored most of the time. Helen Walker as Alicia Brown (Mr Brown's long-suffering wife) doesn't appear until late in the movie and resolves one of the two mysteries in this narrative: the one concerning her name. The other mystery concerns the disappearance of Mr Brown's boss, Grazzi, seven years earlier.
The dialog is good, but it's only Conte who makes it great from time to time. The action is also well done although by 2006 standards, it's stilted and again it's Conte who gets all the meatier scenes: when he tortures Diamond with McClure's (Brian Donlevy) hearing aid, when he evades McClure's trap and, most deliciously, when he brings his tough hit men (very youthful Lee van Cleef and Earl Holliman) their pay off for a job well done. It's worth seeing the movie just for those scenes alone. And, while on the subject of those two hit men, it's fascinating to see the homosexual innuendo play out between them; it's not usually seen in gangster movies, especially in the fifties.
The main characters are further supported by Robert Middleton (always good to see in drama); Brian Donlevy (a consummate actor and well-known face in many crime thrillers); and the ubiquitous Jay Adler (the character actor's actor, I think) as Wilde's side-kick.
Overall, however, I regard this film as a curiosity more than a successful mystery/thriller like The Maltese Falcon (1941) or The Big Sleep (1946 and 1978), perhaps. But, I'm glad I saw it. And, like I said, it's worth seeing for Conte's performance alone...