Very very predictable, including the post credit scene !!!

A bit overrated, but still an amazing film

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Big Jim McLain is a hilariously bad propaganda film. If it was made by the Nazis, the cast and crew would had got medals from Goebbels.John Wayne surely was doing his best to avoid being labelled as a commie (it was made in conjunction with his own production company.)Big Jim McLain (John Wayne) and his partner even bigger Mal Baxter (James Arness) are investigators for the House Un-American Activities Committee. They have been sent to Hawaii to round up some local Communists. They visit Dr Gelster a psychiatrist who is treating one of the party members. While there, McLain charms the doctor's secretary, Nancy Vallon (Nancy Olson) and asks her out. McLain and Baxter become targets of the local communist head honcho, really tall Sturak (Alan Napier.)It is left to James Arness to really ham up his character's anti communist credentials. Oh if only he could get his hands on those reds under the beds. He fought in Korea you know.Wayne is too busy being a tourist and trying to charm Olson who he met on his first day ashore. Although raucous party girl Veda Ann Borg is also interested to know how big John McLain really is.Napier is suave and despicable going around in expensive cars treating the lower ranked members of the party with disdain. It is a laughably bad and camp film. You have a nurse who once dabbled with the reds and talks about being a communist like being struck down by a disease. She does penance by working with ill children.Given the mayhem caused by the House Un-American Activities Committee in the 1950s. Wayne should had burned the negatives.

Even though the script and directing were a bit rough, the storyline was almost OK. The film quality (I know – it was black and white) – sucked, and other than Wayne and Arness, I didn't notice any memorable talent. Nancy Olsen was meh – OK – I guess. As mediocre as this flick is, it is a movie of its time. I got the message loud and clear…the US and the rest of the world were still recovering from a horrible war, and communism is/was a dangerous road go down. I have seem this movie once and doubt I will sit through it again. If it wasn't for John Wayne and James Arness, this movie would probably end up starless – but those two are in it – so I will have to hand out five stars.

This is an awful movie.No matter what your politics, this is one of those jaw dropping bad movies that is so bad it's mesmerizing.Duke and Marshall Dillion scurry around Hawaii chasing an inept bunch of "commie" conspirators, though Big Jim somehow manages to spend the majority of his time wooing Nancy Olson. Stuff happens, just much of it makes little sense. It's hard to imagine this bunch involved in a struggle for world conquest. It's all about as exciting as traffic tickets.This is Ed Wood caliber cinema here people (just a larger budget). It's just hard to imagine Duke and pretty Nancy Olson stuck in the middle of this nonsense (on the other hand, Uncle Tonoose seems right at home).

Most cineastes are more or less left-wing; a film such as 'Big Jim McLain' will be bashed regardless of its intrinsic merits, and whether time has vindicated its picture of widespread communist labour-movement penetration or not. In truth, the movie is a cheap, ill-focused affair, and its prefatory acclaim for the 'undaunted' House Un-American Activities Committee should not excuse its faults, however rock-ribbed one's Republicanism. But it is neither as inept nor as rabid in its ideology as detractors make out.The pill of anti-communism is sugared by a deal of local colour (not literally; the grass-skirted gals who shimmy in several scenes are ill-served by the monochrome location work). There is some ham-fisted humour and makeup-mashing romance between the Duke and Nancy Olson, a rivalry for her hand with a Navy linguist and slugfests on the waterfront. An unpolitical popcorn-chewer would not have felt cheated.As discerning reviewers such as Dorothy Jones observed at the time, Hollywood's Red-bashing narratives differed little in substance from wartime anti-Nazi, spyhunting tales or Thirties sagas of G-men busting criminal rackets. The subversives and agitators apparently rife in the Islands are depicted as petty gangsters controlled by a suave but cynical puppeteer, akin to the 'legitimate businessman' at the top of a Mob operation (Alan Napier- the future Alfred the butler in TV's 'Batman').The story trundles along quite smartly, with long spells when the political fervour of agents Wayne and Arness is relegated. Only the murder of Wayne's partner (which is not dwelt upon) fires him up as he pronounces a eulogy in the morgue over his fellow-Marine turned crusading lawyer; earlier, Wayne had told his girl that he was just firing at the designated enemy, the same way he did in the Pacific. Let us not ask which side the Soviet Union was on in that war! The script plays down the foreign-infiltration aspect, preferring to paint its American communists as men who have lost faith in the country for no obvious reason-- don't mention the Depression-- and are now plotting to enslave it... rather like the Bodysnatchers of a slightly later and better example of paranoid cinema.Sometimes Wayne's frequent scenarist, James Edward Grant, piles on the moralising. A woman whose husband lured her into the CPUSA expiates the shame by working as a nurse in a leprosy colony. Wayne meets an old couple, obviously Jewish though not identified as such, whose son turned red after winning a trip to the USSR. There is an incongruous episode of a lunatic (Hans Conried, the future Dr Terwilliker) who offers to inform on the party cell, boasts of his secret inventions and contacts with Stalin, and then tells Wayne he has a plan to end all wars by making every man and woman in the world look the same. This irrelevant scene could almost be read as sabotage to convey Grant's real opinion of his assignment and the calibre of McCarthy's snitches.Olson, the other woman in 'Sunset Boulevard', is overshadowed by Veda Ann Borg's turn as a peroxide lush who fancies the Duke and embarrasses him in a nightclub. Again, if taken seriously this strand of the plot makes the investigation look like a clumsy wild goose chase.Moreover, Wayne is not the fascistic bully critics purported to see but is poised between the gallant, diffident cowboy of his pre-war movies and the crusty blowhard of the Sixties. It was his first for WB after his smash in 'The Quiet Man', and he makes a pleasant, modest impression. The film, launching his Batjac production company, was very much his pet project-- but maybe as much to help live down his avoidance of war service as to assist Tailgunner Joe. The Warner brothers, incubators of notorious nests of leftists since the mid-Thirties, had something to prove to suspicious congressmen too.Yet the end is equivocal. The Duke gets the girl, but the CP high-ups he has tracked down plead the Fifth and wriggle out of punishment. Objectively McLain's mission has failed; liberalism, benefit of the doubt, right of non-self-incrimination triumph. There is no 'Green Berets' afflatus as the end-credits roll; the commies live to subvert again. Many of the anti-red movies had this streak of pessimism and half-heartedness. They were against Hollywood's grain.The truth is that the public does not want to be preached at in return for the price of a ticket, and this muted denunciation went the way of most message pictures-- left or right. But that angle gives it more curiosity value than most actioners of its time.