The Mississippi Gambler (1953)

Simply A Masterpiece

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

The Mississippi Gambler is directed by Rudolph Maté and written by Seton I. Miller. It stars Tyrone Power, Piper Laurie, Julie Adams, John Mcintire, Paul Cavanagh, John Baer and Ron Randell. A Technicolor production out of Universal Pictures, the cinematography is by Irving Glassberg and music scored by Frank Skinner.Mark Fallon (Power) is an ace and honest card player who earns his crust gambling on the river boats. Along with Kansas John Polly (McIntire), he aims to bring honest gambling to the card playing masses. When during one high stakes game he beats and embarrasses Laurent Dureau (Baer), it takes him to New Orleans where into his life comes danger, wealth, beautiful women, friendships and tragedy.Sometimes horses and beautiful women are upset by whistles.A forgotten film in the output of matinée idol Tyrone Power, The Mississippi Gambler is a different kind of adventure to the type he was ultimately known for. Perhaps this is why it's still relatively obscure? That it isn't a swashbuckling tale of derring-do and testosterone fuelled bravado? As fun as his swordsman pictures are, and they are, it's a shame that the films such as this and Nightmare Alley, that contain some of his best performances, neither get the praise or exposure they deserve.Mississippi Gambler finds Power getting his teeth into a role that can in many ways be seen as the ultimate male. Mark Fallon lives and breathes honesty and integrity, he is not only an ace card player, he's an expert swordsman, a gentleman, an excellent dancer, and of course, handsome into the bargain. What makes the film so intriguing and ever watchable, is that Fallon does everything correct as he lives his life, but pain, misery and tragedy surrounds him. The majority of people who come into contact with him invariably suffer in one form or another, marking Fallon out as a homme fatale type through no fault of his own, with the film being structured in such a way you just have to wait for the finale to see if your hopes will be fulfilled?Entering into this one expecting a high velocity adventure will only lead to disappointment. There is action, quite a bit in fact, as we are treated to some fencing, old fashioned fist fights and a duel, while fans of card playing get a couple of high stakes battle of wills to gorge upon. But all these moments are just insertions into a character driven whole, a whole based on romance, passion and yearnings for the unobtainable. The lead characters are nicely drawn by Maté (D.O.A.) and Miller (The Adventures of Robin Hood/Here Comes Mr. Jordan), where the psychological make up and traits of the important individuals is there to absorb, ensuring the story is never dull, that it has a belief in what it will deliver come the end. The only real misstep is with Adams' character, Ann Conant, it's a thankless role and really needed some more flesh on her bones. But boy does Adams look stunning!As a production the film also scores incredibly high. Bill Thomas' period costumes are feasts for the eyes, beautifully realised by Glassberg's (Bend of the River) Technicolor photography, and the back drop set decoration (Russell Gausman/Julia Heron) is fit to have graced a bigger budgeted epic in the same decade. Prolific music man Frank Skinner (Arabian Nights) scores it thematically reflective, while Gwen Verdon deserves a mention for her choreography, notably for the excitingly macabre Haitian Devil Song. On the acting front it's ineviatbly Power's show, but he is well supported by McIntire (crafty sidekick), Laurie (pulse raising lady axis) and Baer (snivelling spoiled fop). However, best of the support bunch is Cavanagh (Magnificent Obsession), he gives Edmond Dureau a regal quality, a bastion of moral codes, a hark back to when men were correct in manners and parental skills. The relationship between Fallon and Edmond is one of the film's true highlights, and that's because of Power and Cavanagh's performances.A wonderful movie that's just crying out for a wide home format release, if you get the chance to catch it then grasp it with both hands. 8/10

Excellent and a bit different action type story line. Great mix, of old world, upper echelon Mississippi River gambling life. Also the rift between "commoners" and the "rich elite" who like to make believe they don't have all the same feelings and faults like us average folk. It has a good supporting cast as well. Tyrone Power was a bit older by this move but we all age and he still looks darn good. He also is still a fine actor and personality and can command the screen too. It's has some excellent sword play and it also provides a bit of a real fencing education. Besides all that it's in color and It's got Julie Adams and Piper Laurie too!

Seton I. Miller's script for the "Mississippi Gambler" is his masterwork. Ther film is beautifully directed, and for once at UniversalStudios, it even looks like an "A" budget effort much of the time. The costumes are stunning, the storyline continually enthralling and the characters frankly unforgettable. Tyrone Power is a few years too old for the part of Mark Fallon, prototype of many a later gambler in westerns; but his acting in my professional judgment in this film is the best he ever did. Lovely young Piper Laurie's and intelligence both serve her in her portrayal of a skittish young Southern belle running away from her attraction to Fallon. Others in the stellar cast include John McIntire as Mr. Polly, Ron Randell as Fallon's rival, Ralph Dumke, King Donovan, Julie Adams, Dennis Weaver and first and foremost veteran Cavanagh as Ms. Dureaux, notorious rake in his time who sees his sins visited on his uncontrollable son and daughter. The theme of the film is honesty; Power wants to be an honest gambler on the Mississippi where a jackal's code is the norm. Bue Fallon has one weapon on his side in his unequal battle,; he is the best swordsman in the world. He sets out to build a life with only those two weapons. Ther film's action sequences are unusually fine, and the dialogue is frequently superb, and the characters unforgettable. This film out of nowhere became a top ten hit in the busy film year of 1953, helped by Gwen Verdon's choreography, the serviceable music by Frank Skinner and the production values of sets, lighting and art direction that make the feature seem even more expensive that it was to create. A minor masterpiece, and a memorable romance; it is also that rarity, an historical film of ideas as well as sparkling adventures. One of the great movies by any standard.

Tyrone Power does a fine turn as a gambler who prevails at cards and life by playing honestly at both. Director Billy Wilder later used Power's talent at playing the honest-joe in Witness for the Prosecution. In the latter movie, Power's characterization is richer and more nuanced than here(but you'll need to see Witness to find out why!). Seton I. Miller, the chief screenwriter for Mississippi Gambler, worked with Powers in an earlier movie, The Black Swan. Both movies feature a dance sequence highlighting black "ethnic" musicians and dancers. Gwen Verdon provides the dancing talent in Mississippi Gambler. Worth watching for the lavish costumes, detailed sets, and excellent cast. Sadly, by the time this movie was made, Power had lost the aura that caused him to shine as a younger star.