In the bordertown of San Pablo, preparing for an annual 'Mexican Fiesta,' arrives Gagin: tough, mysterious and laconic. His mission: to find the equally mysterious Frank Hugo, evidently for revenge; or is it blackmail? FBI agent Retz is also after the elusive Hugo. Everyone in town is enigmatic, especially Pila, a mystical teenager who follows Gagin around and has premonitions of his death. Also involved are a classic femme fatale and an antique carousel with a pink horse... Written by

Plot Synopsis:
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Easing into San Pablo on a Greyhound bus, Blackie Gagin (Robert Montgomery) wastes no time in securing a locker where he leaves a canceled check. He has come to confront gangster Frank Hugo (Fred Clark) who is responsible for the death of Gagin's war buddy and intends to extort the criminal for a sizable sum of money or he will send the check to the police. As it turns out an FBI agent in town, Bill Retz (Art Smith) has been tracking Hugo and intends to bring him to justice and when he discovers that Gagin has a telltale piece of evidence that can help he lets the man know he wants it. Gagin is planning his own kind of justice but needs a hotel room and none are available due to a Mexican holiday celebration that has all the places to stay booked. When young waif Pila (Wanda Hendrix) attaches herself to Gagin and introduces him to the local carousel owner Pancho (Thomas Gomez), a drinking friendship is formed and Gagin gets to sleep in a small shack owned by Pancho. Hugo's girlfriend Carla (Rita Conde) secretly meets Gagin to tell him he should extort as much as he can from Hugo and share with her, and Gagin discovers too late that she has her own agenda, and that to mete out his own form of justice he has to fight for his life.

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Eric Chapman (caspar_h@yahoo.com) from Pittsburgh, PA
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Not quite sure what to make of this one, but definitely interesting. One is never certain if its strangeness is due to inexperience on the part of the film-makers, or if it truly is an unambiguous artistic choice. The director and star, Robert Montgomery, was very much a creature of 1930's pre-war Hollywood and the film seems to be an unconscious attempt to transplant pre-war film-making sensibilities into the decidedly post-war genre of Film-Noir, with all of its fatalism, disillusionment and complications. It's as if Montgomery is an alien from the 30's exploring a strange, post-war Noir world; rejoicing and experimenting in this permissive new environment, but ever aware that he is not a native. (Though it's highly unlikely this idea ever occurred to him in such a concrete way, as this genre was not identified as such until French critics of the 1960's uncovered a new pattern in American films dealing with crime.)

There's much here that I, quite frankly, didn't understand. You never really get a handle on any of the characters or what their true motivations are; they're all tantalizingly enigmatic, opaque, but that is admittedly much of the joy of the picture. Everyone seems to be suffering from some kind of guilt that they just don't seem quite able to articulate, much less expiate, so they keep muddling along hoping that they'll stumble across an answer or justification for their sins. The villain of the piece, Fred Clark, is odd. He doesn't just want to trick Montgomery out of the money he's blackmailing him for, he wants to shame him for not being smart and demanding more. Montgomery is mighty odd as well, with some kind of a stubborn, indecipherable personal code of honor; sort of a dumbed down Sam Spade. He's trying to carve out some little island of corruption just for himself, stiff-arming both sides of the law in the process. Most peculiar is the little peasant girl played by Wanda Hendrix. She is instantly devoted to Montgomery, lovingly helps him out of a couple jams but at the end after they say goodbye, she makes some little speech to her friends in Spanish (w.o. subtitles) that gives the impression she was never as innocent as she let on. But what did she gain? And Art Smith (a good crafty little character actor who keeps turning up and making an impression in a lot of films I've been seeing like "Brute Force", "The Next Voice You Hear" and "In A Lonely Place") is an FBI agent who is more like Montgomery's guardian angel. He is almost God-like in how he can pinpoint the exact motivation behind Montgomery's every move and thought.

All these actors are fine, but Thomas Gomez steals every scene he's in as the deceptively heroic operator of the merry-go-round. He is involved in the film's most brutal and poignant scene, as he is beat up by a couple of Clark's thugs (as the children watch captively on the spinning carousel) for refusing to reveal his friend Montgomery's whereabouts. And I love his great line when Montgomery stumbles back for help after getting stabbed in a fight. He shrugs wearily and says "when you're young everyone sticks knife in you."

I couldn't for the life of me figure out why the movie would be called "Ride the Pink Horse", but I like the other reviewer's theory that it has to do with the arbitrary nature of life itself. A definite cult item.

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(e-harding@sbcglobal.net) from Chicago
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I was in the process of reading this book and then started watching a movie without knowing what the movie was. It was deja vu all of the sudden. It turned out to be this movie. I think that Robert Montgomery did a great job of capturing the character that was in the book. Tough but naive at the same time. A very good noir film that should get more play and recognition.

The dark atmosphere,the craziness of the music and the partying in the background all the time as the story unfolds. Maybe I had a leg up reading the book almost first. It's very rare when I think a movie based on a book is just as good as the book. I felt sympathy for Robert Montgomery's character. All the time thinking he was going to lose to the cheats. He had his own principals and stuck to them.

Can't say enough.

Good movie.

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M-G-M from San Diego, CA
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Ride the Pink Horse is great example about atmosphere in film noir. It is not often that B films are being seen like this one but it's great film in its own right. Possibly one of the unique film noir and Robert Montgomery did great job of directing and starring in this film.

Some may find the title "Ride the Pink Horse" bit ludicrous but it has meaning to it. Look for that scene that has pink horse and you will understand what I'm talking about. However, it's terrific B film in its own right.

Would I recommend this film to my friends? Probably no but I would recommend it to people who like film noirs. It's truly fantastic film noir in its own right.

****/****

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mackjay from Out there in the dark
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It is really unfortunate that this film is not available on video. Until it has more exposure, it will remain as obscure as its title. A prime example of the "sleeper", "Ride the Pink Horse" should be regarded as a singular member of the Noir canon. The film features "classic" noir elements: the femme fatale (with an interesting twist--are there two of them?), revenge motivation, an overall feeling of fatalism and impending doom, dark cinematography dominated by shadows and a solitary, enigmatic protagonist. What makes "Ride the Pink Horse" so unique is mainly its setting: a small Mexican town and an ongoing festival. Director Montgomery apparently shot the film during what looks like an authentic fiesta, with its images of ancient gods and rituals. This adds to the feeling of remoteness and mystery that characterize this movie. The title refers to a merry-go-round horse, and it is actually spoken at one point: the Mexican girl asks Lucky Gagin which horse she should ride. His response seems arbitrary and perhaps this ties in with the meaning of the film--our choices and connections happen by chance, yet they can dictate our entire lives. Gagin has come to the town on a single-minded mission of revenge, yet by the end everything has changed and been influenced by circumstances he could not have foreseen. "Ride the Pink Horse" has an archetypal Noir style: many scenes are shrouded in shadow or filmed in silhouette; most characters are ambiguous in their intent. All the actors are good: especially Thomas Gomez, who was nominated for an Academy Award for Best Supporting Actor, and Fred Clark as a devious and nearly deaf villain. The beautiful Wanda Hendryx lends appropriate mystery to the Mexican girl. There is a lovely and evocative score using what sound like real Mexican tunes assembled by Frank Skinner.

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Cutter-2 from Atlanta
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An incredible film. There is so much going on and so much symbolism, the viewer cannot afford to miss a single moment. The great difficulty with attempting to make sense of most post WWII film noirs is that it is nearly impossible to relate to either the time in general or the turmoil the protagonist is going through after between one and three years in the somewhat surreal situation of extended combat. Attempting to `assimilate' to society can be extremely difficult. Many 'Nam vets can relate. At the time the film was made, just about everyone could relate because if they were not attempting to `assimilate' they knew someone who was.

The title comes from a scene where Lucky (Montgomery) wants to give Pilar (Hendrix) a free ride on Pancho's (Gomez) merry-go-round. Pilar asks Lucky which horse to ride and he replies, `Try the pink one'. What the merry-go-round is a metaphor of each viewer can decide. However, Pancho may give us a clue when during this exchange he states he gives no free rides.

Lucky is the typical movie G. I., brusque, rude and tougher than nails with apparently no real direction in life as evidenced by his cheap, rumpled suit and extremely free spending. Most assume he is out to revenge the killing of his war buddy, Shorty, by a gangster (Clark). Lucky is considered stupid because he could blackmail the gangster for much more than he is asking and essentially set himself up for life. However, Lucky recently left an environment where there was no guarantee of life beyond the moment. Is his motive actually revenge or could he be looking for something else? He recently survived a situation where his friends died on a regular basis and there was little or no opportunity for revenge. Can he even relate to revenge? You decide. At the end of the movie Lucky works out in his own mind a means of satisfying his motives. Enough said.

Pancho is the wise sage who periodically illuminates a situation with his light, off handed comments. The scheming, femme fatale (King) has a minor role, which is refreshing. However, the character who literally steals the show is Pilar a young, inexperienced, poor Indian girl who seems to mature into adulthood during the course of a few days. She attaches herself to Lucky at the beginning of the movie. The symbolism associated with her frequently appearing from behind buildings, out of alleys and hearing things no one else does is very strong and adds a true sense of mystery to the character. Retz ( blacklisted Art Smith), a government agent, and Pilar are often found protecting Lucky from himself. Pilar later explains to Retz that she befriended Lucky because she saw death in his face. Pilar assumes the `death' she saw is in the future but it could very well be that Lucky, after extended combat, is living a type of death at that moment. One of the movie's most compelling scenes is at the end when Lucky, knowing full well what he owes Pilar, has great difficulty determining how to say good-bye. Retz knows Lucky is struggling. Pilar, having greatly matured, understands either Lucky's predicament or `the facts of life' and handles the situation with the maturity of one well beyond her years. The beatings Pancho and Pilar take rather than betray Lucky also have strong symbolism, the weak defying the strong and eventually prevailing. Keep in mind this is 1947.

This is an extremely powerful movie that leaves so many questions unanswered, one cannot help but wonder long after the movie is over about what lead up to this small piece of Lucky's life, what was actually occurring during the movie and Lucky and Pilar's future.

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SHAWFAN from United States
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I saw this film when I was a young boy when it first came out in 1947 but didn't truly appreciate it till I saw it on TCM the other night again. I agree with all your commentators as to its enigmatic mystery and its possible shortfalls attributable to Montgomery vis a vis Bogart. I found the dialogue and the monologues gripping. In later looking this movie up here I discovered why: the script was by Ben Hecht (of Front Page fame). No wonder it was so great. As many of your commentators point out (and very perceptively too) the individual performances of Gomez, Hendrix, Clark, etc. were all splendid, not to forget Montgomery himself. But TCM must have edited the film or else I fell asleep watching it: I definitely did not see Gomez being beaten up by anyone while being watched by uncomprehending children. That part was definitely not in the version that I watched, sad to say. One of the strongest parts of the film was the disillusionment and cynicism expressed by the Montgomery character against patriotism, and WWII and its profiteers in typical film-noir fashion. Also strikingly evocative and disturbing was the final scene in which the innocent-appearing and passive Hendrix character finally opens up to her friends and re-enacts the events of the film in a vivacious and cynical way to show her friends how sophisticated she is after all. What a dash of cold water in the face of those who expected a romantic ending between two such repressed characters who made a specialty out of never showing their emotions. A great, great movie.

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Karen (Gypsy1962) from Chicago, Illinois
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From the film's opening scene, which shows the protagonist, Lucky Gagin, emerging from a bus into a dusty Mexican town, the viewer is hooked. There are so many good things about this film, primarily the acting performances -- Robert Montgomery is a standout, as are Wanda Hendrix, Fred Clark, Thomas Gomez, and Art Smith. They each completely occupy their characters and make them come to life. Another highlight is the dialogue -- there are numerous memorable exchanges between Montgomery and Hendrix, and Clark delivers two especially well-written diatribes that serve to solidify his character in the consciousness. The story itself is quite simple, and is driven far more by characterization than by plot, but that is what makes the film so good. The film also contains its share of classically dark noir imagery -- most memorable is the scene in which the Gomez character is savagely beaten by two hoods while a group of neighborhood children sail along on the nearby merry-go-round, at first gaily enjoying the free ride but growing increasingly somber and afraid as they witness the brutal attack. This one is a definite must-see, particularly for film noir buffs, but also for film lovers of all types.

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karloski from California, U.S.
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This is a classic pseudo film noir. It means to emulate, but not necessarily be, a true film noir.

Robert Montgomery is excellent and believable as a man driven to revenge the death of his war time pal.

The scenes with Wanda Hendrix as, in turns, a guileless teen, a knowing friend and a woman who 'sees things' are taut and dramatic. There are a few moments of humor there too.

Mr Montgomery's direction is both intelligent and convincing. There are moments of drama. Moments of near pathos. Moments of comedy. Moments of boredom - from the characters, not the audience.

The 'Fed' and 'Pancho' the carousel owner are interesting and engaging characters. Not hollow or cardboard cutouts that one might see in some films.

All in all it is a very enjoyable film and a must see for those that appreciate both the acting skills and the directorial skills of Mr. Robert Montgomery.

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Michael O'Keefe from Muskogee OK
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Robert Montgomery directs and stars in this seldom seen piece of Film-Noir. A hard-boiled war vet(Montgomery)arrives in the small town of San Pablo as the community is preparing its annual fiesta. He gets the help of a carousel owner(Thomas Gomez)and an alluring young woman(Wanda Hendrix)to track down a profiteer to blackmail him as revenge for killing his buddy. At times it is hard to tell the good guys from the bad. Well directed and photographed. Hendrix is absolutely beautiful. Also in the cast are: Fred Clark and Art Smith.

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steveg-37 from United States
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For me this movie is a fine example of the exotic "Old West" or "Old Mexico" of the '30s-'40s east coast imagination.

It has an ambiance similar to a Roy Rogers movie where the gangsters drive cars and fly airplanes, but Roy on Trigger is able to ride over the hill and cut them off. Business suits mix with cowboy outfits and Mexican girls in traditional dresses.

To correct some of the other reviewers, the fictitious San Pablo of the movie is actually Santa Fe--the La Fonda Hotel is a historic landmark near the main square of Santa Fe. Cowboys and Indians and lots of Americans in the on screen Fiesta are not that out-of-character after all because it is not actually in Mexico.

That said, the movie has an enigmatic, exotic, mysterious feel which is sustained throughout. The fact that you don't know much about the characters contributes to the enigma.

I liked all the actors, especially Thomas Gomez, and feel that the film has many glimpses of Mexican-Americans depicted more as actual people and less as comic-book caricatures than in other movies from the same period.

tequila|color in title|animal in title|merry go round|locker|based on novel|

AKAs Titles:


Certifications:
Argentina:16 / Finland:K-16 / USA:Approved (PCA #12676, General Audience)