Category Archives: Heist films

The 10 essential films of Stanley Baker

Posted on March 1, 2016 by Andrew Nette| 3 Comments

Stanley Baker in Val Guest's 1960 thriller Hell Is a City.Welsh born actor Stanley Baker didn’t live to see his 50th birthday, but he left an impressive body of work. Like his friend Richard Burton, he escaped life as a coalminer for acting after a chance sighting in a school play by the casting director of Ealing Studios led to Baker’s first role in the 1943 war drama, Undercover. His rugged physique and hard grace meant he was most often cast as the tough guy in crime movies and spearheaded the evolution of the British film criminal from the gentlemen thief to more ruthless figures, often working-class, in films such Hell Drivers (1957), Joseph Losey’s The Criminal and Peter Yate’s 1967 heist film, Robbery.

Last weekend he would have been 88, were he still alive. To mark his career, I have a piece on the British Film Institute site looking at his 10 essential films. You can read it in full here.… Read more

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Posted in British crime cinema, Heist films, Joseph Losey, Richard Burton, Stanley Baker, War film

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The Big Nowhere #3: Plunder Road

Posted on November 12, 2015 by Andrew Nette| 2 Comments

Plunder Road lobby

The Big Nowhere is a series of columns I’ve been doing for the 4:3 site, in which I look at the best film noir you’ve never heard of. This week, it’s Hubert Cornfield’s obscure 1957 heist noir, PLUNDER ROAD. Clocking in at just 72 minutes, this cheaply made little heist story achieves an atmosphere of suspense and level of thrills not seen in many films twice its length.

You can read the piece in full here on the 4:3 site.… Read more

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Posted in Film Noir, Heist films

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Richard Burton and the face of a Villain

Posted on February 4, 2014 by Andrew Nette| 13 Comments

Villain_USHSRichard Burton has been on my mind ever since I watched him a couple of weeks ago in the strange 1971 British film, Villain.

Burton was a regular fixture on the TV screen in our house when I was young. Like a lot of women of her generation, my mother loved him ever since he played Mark Anthony opposite Elizabeth Taylor in the 1963 classic, Cleopatra (the film on which the two met for the first time).

Dad liked his war films, of which there were a few, including Where Eagles Dare (1968), Raid on Rommel (1971), The Wild Geese (1978) and The Longest Day (1962). Burton only had a very brief role in the later, as an RAF pilot shot down over Normandy. A US marine cut off from his outfit stumbles across him lying in the bushes next to a dead German soldier, and Burton gets to utter the immortal line: “He’s dead. I’m crippled. You’re lost. Do you suppose it’s always like that? I mean war.”

Only recently have I come to discover and appreciate some Burton’s other films. His turn as Alec Leamas in the incredibly bleak and noirish 1965 spy thriller, The Spy Who Came in From the Cold still stands as the best and most realistic screen depiction of the Cold War.… Read more

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Posted in British crime cinema, Crime film, Heist films, Lee Marvin, Richard Burton

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The Don Siegel Rule

Posted on November 18, 2013 by Andrew Nette| 8 Comments

SeigelI had to give it a name, so I called it the Don Siegel Rule.

I was watching Charley Varrick recently, the 1973 heist film directed by Siegel, starring Walter Matthau as an ex-crop duster and stunt pilot turned bank who, along with his long suffering girlfriend, Nadine, and unreliable partner, robs a small bank in New Mexico. Unbeknownst to Varrick, the bank in question is actually a front for the mob. In response, the mob sends a hit man (played by Joe Don Baker) after him.

It’s a terrific little heist film. Tough in all the right places, just enough action and suspense to keep you interested, without the kind of over the top action gimmicks similar films exhibit these days. Matthau is terrific as the hangdog loner, Varrick.

Anyway, it got me thinking. There may be bad Siegel films out there, but I haven’t seen them.

Siegel was the king of the intelligent B movie (a title he shares with directors such as Walter Hill). His films have enormous energy and pace, but they also have an economy. Watching Siegel’s films, time and again he’s been able to get above obvious budget and script limitations to tell a gripping story.

The journeyman director cut his teeth making Westerns and noirs in the late forties and early fifties, and then pretty much excelled at whatever genre he tried.… Read more

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Posted in Angie Dickinson, Crime film, Don Siegel, Heist films, Lee Marvin, Michael Caine

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The Silent Partner

Posted on May 20, 2013 by Andrew Nette| 9 Comments

the-silent-partner

Earlier this year I did a series of posts on my love of heist films, what my favourite ones are, and how they differ from caper films.

The number one rule of a solid heist film is the heist always, always goes wrong, whereas caper films put more emphasis on comedy and the criminals often get away with it.

What to make, then, of the 1978 Canadian film, The Silent Partner?

I’d heard about this film around the traps, never prioritised viewing it because of the star, Elliot Gould, an actor I’ve never much cared for, and what I perceived to be its caper feel.

Wow, was I wrong.

Gould plays Miles Cullen, a teller in a small bank in a large Toronto shopping mall. He’s a boring nobody who secretly lusts after another teller, Julie (played by Susannah York), and whose only passion is collecting tropical fish.

That all changes the day he learns the bank is about to be robbed after finding a discarded note on one the bank’s counters. He quickly deduces that the culprit is a guy in a Santa suit whose working the crowd outside the bank and whose ‘give to charity sign’ is done in the same hand writing as the discarded note.

But instead of telling his boss or going to the cops Miles devises a plan to keep most of the cash from his transactions, thus ensuring that when Santa robs the bank he’ll get far less money.… Read more

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Posted in Crime film, Heist films

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