There Was a Crooked Man...

A charming but totally roguish and ruthless criminal called Paris Pitman Jr. (Kirk Douglas) is detained for robbing and condemned for a long time in a remote , impregnable territorial prison . There Pitman to start doing ten years in an isolated jail but being supported by a motley group of inmates (Burguess Meredith , Warren Oates , John Randolph , Hume Cronyn) . All of them are surveyed by an assorted team of stiff wardens (Victor French , Gene Evans , Alan Hale Jr.) . However , those years should pass quickly because of a $500,000 loot previously stashed away . But then , an innovative and incorruptible warden chief (Henry Fonda) takes over the Arizona town's prison and he has some new ideas about law and order . Scurrilous Pitman enlists the help of his cellmates in an escape attempt with the promise of sharing his hidden loot . At the end one of them lived happily ever after .

Offbeat Western black comedy displays an excellent plethora of actors , as main as secondary cast and with fine acting all around . This is a richly amusing tale , including hilarious touches , tongue-in-cheek , twists and turns . Interesting and fun script written by two prestigious screenwriters : David Newman and Robert Benton . Overlong Western ; however, Warners objected Mankiewicz's preferred version of the film (it ran to 165 minutes) and re-cut the film , to his great irritation , to a more manageable 126 minutes . One notable casualty of this re-cutting was the prominently-billed Lee Grant , a very well-known actress at the time, whose appearance is now barely a couple of minutes in length . Enjoyable performance by Kirk Douglas as a charming , intelligent and successful criminal who eventually imprisoned is sent in the middle of the Arizona desert ; here Douglas steals the show playing one of the smiling rogues that he did so well . Henry Fonda is perfect as a new idealistic warden who starts to manipulate everyone to achieve his goal , to take the stash . Douglas and Fonda dominate this western comedy as two immensely likable roguish men making plans to collect the buried loot . And brief nudism by today's standards, what remains is fairly tame : a couple glimpses of the bare backside of Kirk Douglas, a glimpse of a bare breast here and there and some mildly risqué drawings . Impressive production design , in fact a realistic 1880s territorial prison replica was constructed on four acres in the high-desert country of the Joshua Tree National Monument , being designed by Edward Carrere , Oscar-winning designer of such movies as Wind Bunch (1969) , it was one of the most massive location sets ever built . As the prison set took seven weeks to build , when construction began , it was snowing , when it ended, the temperature was 100 degrees . Furthermore , it contains a colorful cinematography in Panavision by Harry Stradling Jr . Lively and vivid musical score by Charles Strouse , adding some catching songs sung by Trini López .

The motion picture was compellingly made by Joseph L. Mankiewicz (1909-1993) , it was promoted as a "cynical western" , the film was released on Christmas Day 1970 and it did poorly at the holiday box office . Mankiewicz is considered to be one of the best directors of film history . He directed excellent pictures in all kinds of genres , such as intriguing dramas : ¨All about Eva¨ (50) , ¨Five Fingers¨ (51) , ¨The barefoot Contessa¨ (54) , ¨Suddenly , Last summer¨ (59) , ¨The honey pot¨ (67) ; Noir Film : ¨House of strangers¨ (49) , ¨No way out¨(50) ; Musical : ¨Guys and dolls¨ (55) , Fantasy : ¨The ghost and Mrs. Muir¨ (47) , and Historical : ¨Julius Caesar¨ (53) and ¨Cleopatra¨(63) .

This is an interesting black comedy, from Joseph Mankiewicz, about the gullibility of man, and how greed can corrupt anyone. Henry Fonda is a lawman, in typical Fonda-style (before WARLOCK and the spaghetti westerns changed his image). He is a firm support for law and order. However, he has been shot and left lame by Warren Oates, a drunken outlaw. He may have to retire as a result sooner than he expected.

At the start of the film we watch how Kirk Douglas (Paris Pitman) has robbed the home of Arthur O'Connor with his gang. They are killed off in one way or another. Pitman escapes with the money, and hides it in a hole full of rattlesnakes. But later he is captured. Pitman is sent to territorial prison, where he meets Oates, Burgess Meredith (as the legendary Missouri Kid), Hume Cronym and John Randolph (a pair of swindlers who are also a gay couple), and others. The warden is Martin Gabel, who soon makes it clear that if Douglas wants to be out sooner he needs the warden as a partner. But in a riot Gabel is killed, and Fonda is appointed the new warden.

Fonda tries to reform the prison, improving facilities and setting up an honor system. Douglas, the total cynic, sneers at all this, and makes his own plans. He is not going to rot for two decades or so in prison while a fortune awaits for him. So he starts plotting to get out, and Fonda keeps watching to counter his plotting.

I won't add anything else, but in the end one wonders if Paris Pitman's view of mankind is the truth of us all or not. The film has wonderful sharp comedy, including the comic put-downs of Cronyn when undercutting the pompous Randolph, and when one sees scenes like Burgess Meredith taking his first bath. I strongly recommend this film to fans of unusual westerns.

I found this to be a fine western comedy. Kirk Douglas plays an incorrigible, but likable bank robber in the 1800's. Henry Fonda is a straight-laced Sheriff turn prison Warden trying to reform the cunning thief in the territorial pokey. Douglas of course intends to escape and go back to the hidden money, but he must enlist help from the likes of Warren Oates, Burgess Meredith and Hume Cronyn. This is a very enjoyable and funny film that reveals Douglas' bare butt. In supporting roles are Arthur O'Connell and Martin Gabel. Unload your six shooter and prop up your spurs; this one is worth your time.

A unique combination of a western and an existentialist black comedy.

The two foils are Kirk Douglas as a cunning and charming prisoner, and Henry Fonda as his steady and observant warden. They match wits within a teeming ecology of interesting characters. Burgess Meredith is the heart of the ensemble and provides several poignant moments: the bath scene and his reaction to a shooting are unforgettable.

You'll either hate or love the way "A Crooked Man" subverts the conventions of the genre. The tone of the movie is purposefully inconsistent. One moment, it's sympathetic and moving. The next it's cold and nihilistic. The humor is particularly unique for how it brings slapstick and abstraction together. Consider the way Ah-ping meets his end, or the film's obvious disingenuous portrayal of the schoolteacher's fate. Behind these profoundly idiotic scenes is something profound. One caveat: a pointless and homophobic subplot mars this otherwise perfect film.

"A Crooked Man" will be a real treat for those who like films that leave the well-beaten path.

There is so much to like and appreciate about this film that while it's an enjoyable experience, it isn't the great film it should have been.

Firstly, the script is largely excellent. It has a good plot and characters backed up by interesting dialogue. It has a top-notch cast delivering almost universally quality performances. As well, it has some interesting themes and issues to explore, especially in the central battle between Fonda's warden and Douglas' prisoner. The scene where Douglas confronts Fonda in the just built eating hall and exposes his self-serving interests and hypocrisy, is a great example of top-class screen writing.

All the elements are there for a classic (or at least semi-classic) Western, but it doesn't quite reach that. Why? I think a big problem for this is Joseph L. Mankiewicz's direction. As other users have commented, the tone of the film is jerky and erratic and he has to take prime blame for that. But even in pure cinematic terms, it isn't well directed. Scenes that should have been highlights (such as the robbery that opens the film) lack punch because they're ineptly handled.

I think another major problem is the cinematography. The glossy, bright and flashy look of TWACM seems more in tune for a jovial, knockabout, straightforward Western. For a film full of cynicism, complexity (as well as its share of humour) and some rather depressing elements, it's a distracting and misjudged look. The much more realistic style that was to become much more common in films as the 1970s progressed (e.g. 'McCabe and Mrs. Miller') would have been much more apt.

Overall, an under-appreciated and underrated film worth seeking out. But also a bit of a missed opportunity.