Tonight's Movie: The Boss (1956) - A Kino Lorber Blu-ray Review
As regular readers know, Kino Lorber's Dark Side of Cinema collections have been among my favorite Blu-ray releases of the last few years.
Matt stays married to Lorry but almost completely ignores her, despite her periodic attempts to have an actual relationship with Matt. Bob, meanwhile, marries Matt's old flame Elsie (Doe Avedon) and goes to work for Matt as his lawyer.
Matt takes over his late brother's political operation and over time both his power and his corruption grow; he ultimately becomes involved with mobsters, leading to a remarkable set piece at a railroad station and Matt's eventual downfall.The film, loosely based on a true story, is quite sad, particularly in its CITIZEN KANE-like story of the Brady marriage. McGhee is moving as the discarded wife, who despite rejection attempts more than once to connect with her husband, only to be pushed away again. I don't believe I've seen any of McGhee's other work; she impressed me.
The closest Matt allows himself to get to anyone is his old friend Bob, and even that eventually ends in sadness; for the most part, he's a miserable loner who has power and nothing else. Payne is completely convincing in a role that's miles from MIRACLE ON 34TH STREET (1947), though as the film goes on it's increasingly hard to find watching him enjoyable. Payne, incidentally, also served as one of the film's producers.THE BOSS runs 89 minutes and was written by Dalton Trumbo, whose work on the film was initially covered up due to his blacklisting.
THE BOSS was directed by Byron Haskin and filmed in widescreen black and white by Hal Mohr.
Kino Lorber's print is from a new 2K master with very good video and sound quality.
Extras include a commentary track by Alan K. Rode; the trailer; and two additional trailers.
Thanks to Kino Lorber for providing a review copy of this Blu-ray collection.
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8 Comments:
The negative trend throughout could be an attack on the United States and capitalism. Non-stop. I admire the performances but hate the picture. Most of these nightmare/ noir projects have a similar attitude.
The Narrative is driven by The Treasure of Sierra Madre, only more than one note.
Payne made some tough, gritty film choices after WW2 and I enjoy all of them to a greater or lesser degree. THE BOSS is fine though the irredeemable nature of Payne's character here makes it one of the lesser ones for me.
I enjoy every John Payne film I’ve seen so look forward to finding this one. If it’s a 10th as good as Treasure of the Sierra Madre, I’ll be happy!
I thought I knew most of Payne’s dramatic films, but not this one. Sounds worth a view.
I ran The Boss again this afternoon and found it even more negative and soulless than I remembered. So pointless it makes Tresure of The Sierra madre look like a musical comedy. (Not intended to be complementary.)
One more time re The Boss. I have not altered my point of view regarding the subject matter or treatment, but the project is simply brilliant in execution. I have no idea regarding production cost, but it is surely no better than A minus or B plus but the production taste is second to none. Payne must have pulled in every friendly face, and the payoff was outstanding. My guess is a very modest success, perhaps not even that. Too bad, a production textbook.
Thank you all so much for your comments on THE BOSS!
Barry, I was very interested in your thoughts and the contrast of the negative subject matter with the well-done execution.
Jerry, I'm with you, I like most of Payne's postwar films but THE BOSS is lesser for me for the exact reason you cite. Interestingly, I also had trouble with his Western REBEL IN TOWN (1956) released the same year as THE BOSS, because it was unrelentingly sad. Happily there are many more I do like!
Dan-O and Vienna, I'd love to know your takes when you catch up with it. :)
Best wishes,
Laura
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