Le troisième homme était une femme

I had trouble naming my review and I guessing they had a time trying to name this movie thus Ada will have to do for us both. I like Susan Hayworth and she has predictable acting and facial expressions in all her work. It doesn't lack here and she delivers. On Dean Martin, I appreciate his trying to enter into drama and westerns but I could never get used to him doing so. He doesn't have the depth and the acting skills to pull it off. His fame, wealth and power allowed him opportunities to be sure but that is about it. The story itself is interesting from this point of view. Who doesn't like a rags to riches or an underdog becoming a top dog especially it they are a good soul. That is the case here. Susan pulls it off. However Dean further distracted me when I watched him run for office and playing guitar songs to win people over. At this point, I was ready to pull-out but a strange thing happened. The story appeared and it is an interesting one. Human nature does not disappoint and here we get a generous portion of greed, underhand-ness, corruption, scheming and for those that like decent endings comeuppance visits and gives us closure making it satisfying for the viewer and for the actors to say they earned their pay. I recommend a movie snack of your choice and a tasty drink and stay with this until it clicks. It will and it is worth it as the viewer is forced to become involved and choose sides thus emotions are engaged. It is called in the movie parlance "entertainment". You will be

Depression-era politics in the Old South, as guitar-strummin' sheriff Dean Martin campaigns for Governor, meeting and marrying call-girl Susan Hayward on the trail. Soon they're dealing with legislation problems and greedy weasels with old money, but will Hayward's ambitious nature ruin her marriage as well as bring her past history to light? Well-produced but naive, rather plodding melodrama based on Wirt Williams' novel "Ada Dallas" gives all the juiciest scenes to Hayward; Martin, on the other, is shunted off to the side (they're quite a pair anyway: he drinks, she smokes). The atmosphere of Southern plantations and back alleys isn't captured with much distinction (we don't even know what state this is supposedly taking place in), but the production is certainly colorful, even if the human interaction is rote. ** from ****

"Ada" has a good premise, but unfortunately does not evolve into a good movie. The soapy melodrama about a "puppet" gubernatorial candidate married to a prostitute does not due justice to the talents of its stars. The fine talents of the three main stars are not fully explored, and their characters are likewise underdeveloped. The ending is hardly probable, and as a resolution, it leaves a lot to be desired.

The cast do the best they can with the material they have. Dean Martin and Susan Hayward are both quite credible in their highly emotional performances. Wilfrid Hyde-White is also good in portraying a grasping and stifling villain, an unusual role for him.

If you're a fan of Susan Hayward this film has everything you need.

An old-fashioned melodrama with all the trimmings Susan rules over this with a velvet glove. She's a girl from "the wrong side of the tracks", a prostitute in a roadside honky tonk who makes the acquaintance of a dim hayseed one night. He has a way with a song and isn't clever enough to see that he is being used as a dim bulb stooge by a political machine to take him to the governor's mansion. The film offers nothing new on this age old chestnut but the presentation is what counts here.

A star vehicle to be sure slanted Susan's way much more than Dean's even though he gets a moment here and there. Spotlighted in a way stars never are today Susan commands the screen. Notice that she is surrounded only by colors that flatter her, the rooms she finds herself in are almost exclusively white or a soft green to highlight her flame colored tresses. Even the roadhouse where she starts the story has that high class sheen that is a hallmark of the studio era.

The performances are excellent. Dean ambles through without too much to do but handles his one big scene well. Martin Balsam and Ralph Meeker are solid as Dean's trusted friend and a slimy cop respectively but it's Wilfred Hyde-White who stands out as the reptilian political operator who crosses swords with Susan. Therein lies the meat of the story and the basic enjoyment of the film. When these two old pros square off the fireworks are a treat, although Susan gets a couple of other chances on her own to rip apart the unsuspecting when she discovers malfeasance.

A few interesting side notes. The actress playing Susan's madam, Connie Sawyer known as the oldest working actress in Hollywood, is still alive and appearing in small parts at 102 as of November 2014.

The other note is a bit more somber, as she entered the end of her cancer struggle Susan Hayward's friends told her they had arranged for her to see any of her films that she wanted and she selected this film much to their surprise. In hindsight though it's easy to see why, every effort is made to make her look her best, its set in the south which had been her home for many years during her happy second marriage and her part is tailor made to many of her strengths.

If you love Susan Hayward or old time studio made melodramas don't miss this!

Though entertaining enough, "Ada" does not belong in the top tier of Susan Hayward showcases. She's terrific as always, in a role that suits her, but too much in this stretches credibility and lacks proper transitioning. I blame the script, plus Susan and Dean Martin don't especially click together. The film is set in the South and, even though it says Ada comes from Alabama originally, its never made clear which state the action occurs in. The period is also not spelled out, though at the beginning, as Martin is campaigning, he passes a movie theater showing "Escapade", a 1935 William Powell vehicle. Yet, the clothing and hairstyles are definitely not 30's style. Two fine character actors, Martin Balsam and Ralph Meeker, are not given enough to do in support, while Wilfred Hyde-White never seems quite right as wily power-behind-the-scenes Sylvester Marin, his British accent out of place even with a layer of Southern drawl superimposed over it. All in all, you'll be entertained by this combination of "All the King's Men" and "A Face in the Crowd" with sudsy soap opera, but don't expect greatness.