Ace in the Hole (1951), Billy Wilder.

Slick NYC reporter Kirk Douglas barrels into an Albuquerque newspaper office and demands to be hired. In search of a yarn, he stumbles on the news that a local man has been trapped in a caved-in pueblo and manipulates the circumstances to draw the story out as long as possible to burnish his reputation as a journalist with a nose for a good human interest story. Classic Kirk Douglas manliness all over the place including shirtlessness, hair-grabbing, drink-throwing and consternation at the sight of tacos. There's not too many stories about the integrity of journalism these days but like cop stories they are almost always interesting. I am highly suspicious of the idea that rattlesnakes enjoy bubblegum with the wrapper still on.

Law of the Lash (1947), Ray Taylor.

Lash unloops the lash

You'd think with a title like Law of the Lash that there'd be some bitching lashing going on, but sadly, Lash LaRue only gets the bullwhip out a couple times here. This film really highlights how wide shots really suck the tension out of a story, though this one is lame anyway: local gang of hoodlums steal wallets and rings from a passing wagon and Lash comes to the rescue. Flaccid and dull. Lash's sidekick Fuzzy St. John is more pathetic than amusing. Something about an unshaven old man with no teeth is just depressing.

Bordertown (1935), Archie Mayo.

Adventures of ambitious young lawyer-turned casino operator whose principle goal in life is makin' dough and avoiding the boss' nutty wife (Bette Davis). Loved casino boss Roarke whose idea of a great evening out with the wife is getting all his teeth pulled and a pair of fake chompers put in! Pop the champagne, let's make a night of it! (He does).

From the time when it was considered a test of an actor's abilities to play ethnic - Paul Muni (who was not Hispanic) is engaging but the script wavers between being blunt about the obstacles faced by Mexican Americans and caving into condescension. Enjoyed checking out Muni, who did years on the stage beginning with Yiddish theatre but did not make too many film appearances.

Bette Davis struts around the house with her low-slung boobs, trying to get her paws into Muni in every scene. Seems every white woman in the film wants a piece of Muni!