. . . I'll try to summarize its main take-aways. Though BIG JIM seems on its surface to be one of those gut-busting spy-versus-spy spoofs not unlike Peter Sellers' original version of CASINO ROYALE, closer examination proves it to be a fiendishly clever (if only partially successful, given the mixed bag of people making up American movie goers) effort on the part of Warner Bros.' screenwriters and editors to expose the title character as a Real Life Communist operative. Why else make John Wayne the face of HUAC, just as that bunch of inept Witch Hunters are becoming a national laughing stock? Why else make Patriotic Americana so hokey (with Daniel Webster voice-overs, nonstop grade school Flag Day ditties, and a cameo by the USMC Band, for Cripe's sake!) that even Uncle Sam might barf from the sugary overdose? Why such a ludicrously implausible plot? (C'Mon, Pinko American Economics Professors shooting at U.S. Marines in Korea?! Give us a break!) Practically everything out of "Big Jim's" (John Wayne's) mouth comes off as a joke on him--he rhymes the plural of "subpoenae" with "weenies" (showing that even Warner's dialect coach was in-the-know about the plot to make Wayne seem more out-of-touch with Real Life America than usual). Honoring its heart-in-the-right-place attempt to unmask Wayne--who parrots a line here wishing that the U.S. Constitution apply just to rich "Conservatives," echoing the Stalinist take on Socialist Principles--Warner's 2007 DVD release for BIG JIM brackets Wayne between a scandalously mercenary "Joe McDoakes" and Daffy Duck, providing their verdict that "The Duke" was totally Looney Tunes.

That's what a Japanese nurse tells House on Un-American Activities Investigator John Wayne (as the title character) about her feelings towards Communism when he questions her about her Communist ex-husband. Wayne's obsessively conservative politics take over his likable box-office appeal in this unfortunate political drama that only paints part of the picture. Halliwell's "Film Guide" described this film as a "Curious and rather offensive star vehicle in which the right-wing political shading interferes seriously with the entertainment value". I do not profess to be an expert on communism, but I do understand that the Red Scare of the late 1940's and 1950's was an era in Hollywood that destroyed many innocent people, and films like this, "The Red Menace" and "I Was a Communist For the FBI" are just as manipulative as the dangers they are preaching against. Layered with an unfortunate narration by Wayne in character, and a prologue of alleged communists being questioned, it is rather obvious from the beginning and ultimately self-serving.Wayne, an All-American hero whose appeal cannot be denied, was certainly entitled to "Freedom of Speech", but with the preachiness of this screenplay, he totally looses credibility. When Communists are seen, they are as obvious as the stereotypical Nazi's of those propaganda filled World War II movies. In the more serious war films, the most dangerous Nazi's were actually those who were cultured yet evil when it came down to performing their mission. Had Hollywood presented a different side of the "Red Scare", rather than just always one, these films might hold up better today. James Arness is perfectly cast as Wayne's co-hort (they seem like brothers), while Veda Ann Borg and Hans Conreid offer amusing supporting roles. I actually began to like the film just a tad bit more every time the blowzy Borg came on screen, especially in her drunken restaurant scene. "72 Inches of a Real Man!" she coos at Wayne as only she could in that femme fatal way. The humor, though, is utilized really to sidetrack the viewer. Filmed in black and white, the photography makes the film really uninvolving considering its Hawaiian setting.

I like this movie, but must admit it's rather cheesy. It's not that I disliked the plot of having John Wayne playing an FBI man bent on smashing communism--it certainly is unique and very much like the real life Wayne. No, what makes this movie so campy is James Arness' incredibly silly performance. Unlike Wayne, who seems rather restrained and cerebral in comparison, Arness responds to every commie the same way Mike Tyson responds to Evander Holyfield's ear! He goes nuts and beats the crap out of all of them, so there's not much dialog. He roughly responds to every potential enemy with "you commies make me so mad,..."--then WHAM, BAM, POW!!! Civil liberties aside, it's quite thrilling to watch him in action!

The Duke (in ties and jackets!) ferrets out Commies in Hawaii along with strapping partner James Arness. For a movie so obviously filled to the brim with machismo, the results surprise us with just a scene or two of fisticuffs and much more romance between Wayne and Nancy Olson (who moves quickly, and can you blame her?). The black-and-white cinematography is quite beautiful, with silvery shots of the tropics in all their '50s splendor. "Big Jim McLain" features one of John Wayne's best walk-throughs; he looks a little sheepish, but he's so amiable you forget he's really not in character. The drama at hand is tidied up rather quickly, yet the film is directed with a steady hand and has an easy-going pace. Its flag-waving stance is 100-percent purple heart-patriotic, but that's certainly in keeping with the era, as well as with Wayne's all-American persona. **1/2 from ****