The Knife Movie

Posted on  by admin
The Big Knife
Directed byRobert Aldrich
Produced byRobert Aldrich
Screenplay byJames Poe
Based onThe Big Knife
by Clifford Odets
StarringJack Palance
Ida Lupino
Wendell Corey
Jean Hagen
Rod Steiger
Shelley Winters
Narrated byRichard Boone
Music byFrank De Vol
CinematographyErnest Laszlo
Edited byMichael Luciano
Distributed byUnited Artists
Release date
Running time
111 minutes
CountryUnited States
Budget$460,000[1] or $400,000[2]
Box office$1,250,000[3][2]
220,066 admissions (France)[4]

Mossy Oak Survival Knife, 15-inch Fixed Blade Hunting Bowie Knife with Sharpener and Fire Starter, for Camping, Tactical, Outdoor 4.7 out of 5 stars 4,591 $28.99 $ 28. 99 $39.99 $39.99. Movie star Charlie Castle (Jack Palance) draws the ire of Hollywood producer Stanley Hoff (Rod Steiger) when he refuses to sign a new seven-year contract. Castle is sick of the low quality of the.

The Big Knife is a 1955 film noir directed and produced by Robert Aldrich from a screenplay by James Poe based on the 1949 play by Clifford Odets. The film stars Jack Palance, Ida Lupino, Wendell Corey, Jean Hagen, Rod Steiger, Shelley Winters, Ilka Chase, and Everett Sloane.[5]


Charlie Castle, a very successful Hollywood actor, lives in a huge home with all the amenities associated with his stardom. But, his wife Marion has taken their young son and is living separately from him; she is, in fact, on the verge of filing for divorce. She has had enough of his drunken womanizing and of the fact that he has relinquished his ideals for lower Hollywood expectations. Influential gossip columnist Patty Benedict wants the lowdown on the marriage, but Castle refuses to confirm anything for her.

Marion does not want him to renew his contract with powerful studio boss Stanley Shriner Hoff, and will not agree to a reconciliation with her husband if he signs. Castle wants to be free of the studio's grip on his life and his career. He is adamantly refusing to agree to the contract. However, Hoff and his right-hand man, Smiley Coy, have knowledge of the truth behind a hit-and-run accident in which Castle was behind the wheel and which resulted in a death. Castle's friend, Buddy Bliss, took the blame for the accident and served time for it.

Castle's defiance enrages Hoff, who is willing to do anything, including blackmail regarding the accident, to force the actor to commit to a seven-year deal.

An emotionally-tortured Castle wants desperately to win back Marion, who has been proposed to by writer, and friend of Castle's, Hank Teagle. Castle wants to do more inspiring work than the schlock films Hoff pushes on him, but he promises that if the studio head lets him go he will stop acting altogether. To no avail, he pleads with his needy agent, Nat, to help him be free. In the end, the simple fact of blackmail works and Castle signs the new contract.

Buddy's aggressively flirtatious wife, Connie, comes by; despondent, Castle allows the darker side of his nature to prevail and he sleeps with her. Subsequently, Marion and Hank attend a gathering at Castle's place after which Castle prevails upon his wife to listen once again to his reasoning as to why they should reunite. She eventually leaves with Hank but is actually having second thoughts about Castle.

Meanwhile, Smiley, who has been attending a party at one of Castle's neighbors, drops in to tell the actor that Dixie Evans, a struggling starlet who happens to have been in the car with Castle the night of the accident, is threatening to reveal what she knows about the crash. Smiley suggests Castle invite her over, to talk and see if he can persuade her to keep quiet. Castle does so and is sympathetic to her feelings about being treated shabbily and disregarded as an actress. She wants to damage Hoff, not Castle.

Having had Hank take her back to Castle, Marion arrives while Dixie is there. The actress immediately leaves and the couple have an intense conversation; Marion makes it clear she is at least willing to try again to rekindle their marriage.

Subsequently, Dixie goes to Hoff's office and causes such an upheaval that the studio head and Smiley decide that she must be permanently silenced. Smiley lays out a plan to achieve this which involves Castle, and murder. Finally spurred to stand up for his ideals, the actor summons Hoff and Nat and, with Marion present and now aware of Dixie's presence the night of the accident, defies these ruthless men who employ him; he also mandates that nothing should happen to Dixie.

Hoff and Smiley try one more extortion ploy, producing recordings secretly made of Marion with Hank. Neither Marion nor Castle are moved by this attempt and, finally, an outraged Hoff lets Castle go. 'You're through,' Smiley tells the actor. After a brief, quiet respite, Buddy storms in to reveal that he has discovered Castle's fling with Connie; rather than take Castle up on his offer to allow himself to be hit, Buddy spits in his face.


Marion has decided to leave the past behind and reconcile with her husband. Castle asks for a bath to be drawn and, after pledging to Marion 'a better future', goes upstairs. Smiley returns to telephone Hoff and let him know that Dixie, staggering out of a bar and into the street, was struck and killed by a city bus.

In spite of seemingly redeeming himself in many ways, Castle is devastated by the fact that he has betrayed a friend, sacrificed his integrity and anguished the woman he adores. He gets into the bath and ends his life.


  • Jack Palance as Charlie Castle
  • Ida Lupino as Marion Castle
  • Wendell Corey as Smiley Coy
  • Jean Hagen as Connie Bliss
  • Rod Steiger as Stanley Shriner Hoff
  • Shelley Winters as Dixie Evans
  • Ilka Chase as Patty Benedict
  • Everett Sloane as Nat Danziger
  • Wesley Addy as Horatio 'Hank' Teagle
  • Paul Langton as Buddy Bliss
  • Nick Dennis as Mickey Feeney
  • Bill Walker as Russell
  • Michael Winkelman as Billy Castle
  • Strother Martin as Stillman


In March 1955 Aldrich signed a contract with Clifford Odets to make the film. A script by James Poe had already been written and Jack Palance set to star. The film was made for Aldrich's own company.[6]

Aldrich said he was 'terribly ambivalent about the Hoff character'. When he made the film many old time tycoons were still in power.

We'd had twenty years of petty dictators running the industry, during which time everybody worked and everybody got paid, maybe not enough, but they weren't on relief. Seventeen years later you wonder if the industry is really more healthy in terms of creativity. Are we making more or better pictures without that central control? But when everybody worked under those guys, they hated them. So we took the drumroll from Nuremberg and put it under the Hoff character's entrances and exits. It wasn't too subtle... The Hoff crying came from Mayer, who is reported to have been able to cry at the drop of an option. But the big rebuff that Odets suffered was at the hands of Columbia, so there was more of Cohn in the original play than there was of Mayer.[7]

Aldrich later said he wished he and the writer had cut down Clifford Odets' play. 'At the time, I thought that kind of theatrical flavoring was extraordinary. I'm afraid neither Jim Poe nor I were tough enough in editing some of Odets' phrases as we should have been.'[7]


Critical response[edit]


New York Times film critic Bosley Crowther, was disappointed and believed the plot lacked credibility. He wrote:

Mack The Knife Movie

Actually, it looks as though The Big Knife originally was written and aimed as an angry, vituperative incident of the personal and professional morals of Hollywood. This is the clear implication of what is presented on the screen...But the simple fact is that Mr. Odets—and James Poe, who wrote the screen adaptation—were more disposed to extreme emotionalism than to actuality and good sense. They picture a group of sordid people jawing at one another violently. But their drama arrives at a defeatist climax. And this viewer, for one, was not convinced.[8]


Film critic Jeff Stafford analyzed some of the film's elements, and wrote:

[Of the previous Hollywood-exposé dramas] none...can match the negative depiction of the movie business and its power brokers offered in The Big Knife...The use of long takes by cinematographer Ernest Laszlo adds greatly to the film's claustrophobic tension and the mingling of fictitious names with real ones (Billy Wilder, Elia Kazan, William Wyler and others) throughout the dialogue gives The Big Knife a candid, almost documentary-like quality at times.[9]

Box office[edit]

Aldrich later claimed that although the film cost $400,000 and made over $1 million it lost him money because the distributor took the profits.[2]



  • Venice Film Festival: Silver Lion, Robert Aldrich; 1955.


  • Venice Film Festival: Golden Lion, Robert Aldrich; 1955

Stage play[edit]

The Big Knife premiered on Broadway at theNational Theatre on February 24, 1949 and closed on May 28, 1949 after 109 performances. Directed by Lee Strasberg, the play starred John Garfield as Charles Castle.[10] The first Broadway revival opened at the American Airlines Theatre on April 16, 2013, produced by Roundabout Theatre Company, directed by Doug Hughes and starring Bobby Cannavale and Richard Kind.[11]


The Big Knife was released to DVD by MGM Home Video on April 1, 2003 as a Region 1 widescreen DVD.


See also[edit]

The Subtle Knife Movie Imdb


  1. ^Alain Silver and James Ursini, Whatever Happened to Robert Aldrich?, Limelight, 1995 p 242
  2. ^ abcAldrich, Robert (2004). Robert Aldrich : interviews. University Press of Mississippi. p. 12.
  3. ^Alain Silver and James Ursini, Whatever Happened to Robert Aldrich?, Limelight, 1995 p 14
  4. ^French box office results for Robert Aldrich films at Box Office Story
  5. ^The Big Knife at IMDb.
  6. ^BY WAY OF REPORT' The Big Knife' Aimed At Screen -- AddendaBy A. H. WEILER. New York Times13 Mar 1955: X5.
  7. ^ abmr. film noir stays at the tableSilver, Alain. Film Comment; New York Vol. 8, Iss. 1, (Spring 1972): 14-23.
  8. ^Crowther, Bosley. The New York Times, film review, November 9, 1955. Last accessed: February 20, 2008.
  9. ^Stafford, Jeff. Turner Movie Classics, film review and analysis, 2008. Last accessed: February 20, 2008.
  10. ^'The Big Knife Listing', accessed June 16, 2012
  11. ^Gioia, Michael and Jones, Kenneth. 'Roundabout Revival of Clifford Odets' 'The Big Knife' Ends Broadway Engagement June 2', June 2, 2013

External links[edit]

  • The Big Knife at the American Film Institute Catalog
  • The Big Knife at IMDb
  • The Big Knife at AllMovie
  • The Big Knife at the TCM Movie Database
  • The Big Knife film trailer on YouTube
Retrieved from ''

Before the action movie The Hunted hit the screens in 2003, many had never heard of Tom Brown Jr or his signature knife, The Tracker. Brown is an esteemed wilderness survival instructor and his experience teaching and assisting law enforcement agencies track down fugitives, missing persons, and prison escapees provided enough hair-raising possibilities to inspire a gripping Hollywood film.

Tommy Lee Jones’ character is tasked with apprehending a wanted man played by Benicio Del Toro whom he trained in Army Special Forces SERE School. The Hunted may have starred Academy Award Winners Jones and Del Toro but the Tracker Knife also received a lot of screen time – arguably more attention than any knife has ever received in a major motion picture.

> > Keep your folders awesome. Grab a Pack of 5 Microfiber Blade Sleeves for $8.99 < <

An early scene where Rangers, Special Forces, and SEALS learn how to make the Tracker Knife from scratch sets up the epic knife fight later in the film. The knife making training is followed by a sequence where Jones teaches students how to fight using what appears to be a KA-BAR bowie. Before he goes toe to toe with his teacher, Del Toro is seen making the Tracker knife which he then sheaths horizontally across the small of his back using the so-called scout carry method.

Edge Of The Knife Movie

**YouTube Clip Contains SPOILERS**

The Big Knife Imdb

The Hunted demonstrates what a movie can do for the popularity of a knife. The distinct shape of the Tracker caught the audience’s eye and sparked the momentum. Bark River Knives says they have difficulty keeping up with demand for their tracker. TOPS Knives says their Tom Brown Tracker continues to be one of their best selling models. They currently offer the Tracker in 3 different sizes, as well as a combo kit containing the largest of the three paired with the Tracker Scout. Also benefiting from The Hunted phenomenon is David R. Beck, who made the original Tracker for the movie. The sheer awareness gained from the film was unprecedented and made an otherwise unknown knife very popular overnight.