Micitype Pretty Good

Mjeteconer Just perfect...

CrawlerChunky In truth, there is barely enough story here to make a film.

Cassandra Story: It's very simple but honestly that is fine.

dougdoepke A heist gang is assembled from character types to knock over a million-dollar bank. But first, the gang must establish credentials in town by pretending that two of their number are a married couple that buy a gas station. But will the diverse types be able to carry out the scheme, especially in the midst of an all-American community.Well-made thick ear. Despite the title, the heist part is pretty ordinary. The movie's real appeal is in colorful characters and human interest. Robert H. Harris has to be the biggest bundle of pathetic sweat in movie annals. When he isn't setting off diversionary explosions, he's in near orgasmic delight over the fires he sets. It's a thankless role, he brings off to the proverbial T. Then there's Corey Allen's demented hipster Roy, and a long way from his commanding role in Rebel Without a Cause (1955). With his blond crew-cut, I almost didn't recognize him. But in my view, the movie really belongs to James Gregory's mastermind, Flood. He brings real authority to the role, making much of the movie more credible than it is. No wonder he had a long run on TV.The various little conflicts make up most of the story, and except for some cheap sets, they're compelling enough to hold interest. However, suspense doesn't really kick in until the final 20-minutes, while some threads are left hanging; that is, unless I missed something. Anyway, Calhoun and Costa make an attractive couple, with a good look at that 50's suburban ritual, the backyard bar-be-cue. And despite a couple of plot stretches, the production remains on the whole an entertaining little package.

Michael O'Keefe Robert Stevens directs this crime drama; almost the perfect crime. Frank Harper(Rory Calhoun), a con man down on his luck and flat broke, goes to a long time crime boss named Flood(James Gregory)to ask for set up money for the perfect crime. It takes some convincing, but Frank knows for sure that a small-town bank regularly has the near by Marine base's payroll deposited. Flood figures that if he sends his girlfriend Kay(Mary Costa)with Harper to set up house as a new couple to the community they could prepare for the caper without suspicion. Calhoun comes across real cool. Costa is convincing as a pretty woman that needs affection and the chance for a real life. Planning out the heist is interesting. Other players include: Robert Harris, Paul Picerni, Roxanne Arlen and Ray Teal.

zardoz-13 Rory Calhoun swaps his horse for a car in director Robert Stevens' taut little heist thriller "The Big Caper" with Mary Costa and James Gregory. If this slickly done melodrama is predictable, you have to remember that when it came out, nobody could get away with a crime. Although the robbers aren't able to get away with a cool million in bank notes, they manage to execute the crime. "The Big Caper" is memorable chiefly because of its gallery of warped rogues, right down to the amoral protagonist who finds the right gal and decides to quit the racket. Stevens and scenarist Martin Berkeley never let the action go slack as the thieves lay out the project. Unfortunately, the trust among the thieves erodes quickly after a gin-swilling explosives experts is recruited into their ranks. Meanwhile, Flood (James Gregory) grows suspicious about the relationship between Frank Harper (Rory Calhoun) and his girlfriend Kay who have settled in town of San Felipe, California, as a couple who operate a gas station. Zimmer drives the wedge in deep between Flood and Harper because Harper doesn't like him hitting the bottle. Things grown complicated because the thieves want something to distract the authorities while they steal a million-dollar payroll intended for the Marines at Camp Pendleton. When the gang isn't slowing deteriorating, Harper grows compassionate with his neighbors. Ultimately, he turns against Flood when he learns that Zimmer plans to plant the explosives for the distraction at the local high school. The catch is that when Zimmer plants the explosives, the school is filled with kids practicing a play. The abrupt ending is the worst thing about this superbly acted drama.

secondtake The Big Caper (1957)Fabulous. Here's where having unknown talent and a plot about ordinary folk really gels into something genuine, without glitz and without the high production values that are terrific in the best crime noirs but are also so slick they become something more and also less. "The Big Caper" obviously has aspirations, beginning with the title (one of the great "Big xxx" films like "The Big Heat" and "The Big Combo" and "The Big Sleep"). And it doesn't let up, or let down.By the end this is a heist film through and through, but the curious part is the core central part where a couple, with criminal intentions, sets up a normal seeming life in a small and unsuspecting town. But the woman of this pair is married to another man, who happens to be the mastermind of the whole affair. Things go wonderfully right for awhile, and romance blossoms as well as a clever and huge (and simple) robbery. But of course things also go wrong.All of this is unfolded in an idealized American town, and that's part of the fun. When some of the smaller characters in the crime arrive, they are glaringly out of place. I smelled hints of sexual weirdness (including some possible S&M stuff with a strange blonde guy) and of course there's the conflict between the two leading men and the leading woman. Like Kubrick's "The Killing," a nearly contemporary heist film, this isn't about getting caught at all, but just about the inside workings of some small time thugs with a very big and bad dream. If Kubrick's film is better technically, and has some acting that rises above (several key players are terrific), this one rises up on its quieter simplicity, and on some very solid and less sensational acting.And on a great job pulling it together. Robert Stevens did mostly television, including a whole series for Alfred Hitchcock t.v., and among his handful of feature films this is probably the best. Nicely filmed with lots of convincing (and real) night stuff, and edited tightly, it never flags. If the ending is a little too sweet, remember this isn't Kubrick after all. But good stuff.