Customer Reviews

Big Heat [VHS]

5 star:		(28)
4 star:		(17)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

In spite of the low profile it got at its initial release in the 50's, in spite of the modest budget and production value, THE BIG HEAT, with his already highly acclaimed M, is Fritz Lang's greatest film, and one of the highest achievement of cinema. The stunning opening sequence, depicting a police officer's suicide and its aftermath, is a great example of efficiency cinematic narrative, so are the 85 minutes that follow. Lang fills this film with powerful shots and speedy editing, never afraid to show heightened violence when the story needs to. Many heated action sequences are handled with impressive masterly. Unlike in the movies in which Lang used famous Hollywood star (and the majority of them could not cope with the severeness of his direction), Glenn Ford and Gloria Grahame show powerful, convincing performances fused with emotion. Also featured are Lee Marvin and Janet Nolan, as the "bad guys" and are equally great. But what makes THE BIG HEAT such a great film is the fact that it is a profoundly humanist and moral film. As many of Lang's American films does, THE BIG HEAT depicts the corruption of the modern society. In fact, he never been as good as this in showing the system of how our society functions: a newspaper headline, or even a telephone call may be more powerful than guns and bullets, punches and tortures. The sophisticated syndicate functions not with violence, but with the information of violence. At the same time, Lang chose the protagonist of the film to be a truly good human being, not a perfect super hero, but a cop who is convinced to do an honest job, and ready to fight for this cause in spite of all the corruptions that surround him. At one point of the story, he is almost convinced that he is set alone against the entire world which is corrupted. He comes very close to be obsessed by hatred towards other men. But then he finds out that he can believe in people, that in spite of the harsh reality of the world which obliges them to lie, to play D-and-D, to be corrupted to save their own neck and wealthy life, in most people there are also a desire to be a good human being. THE BIG HEAT marks the almost only occasion that Lang, the master of pessimistic visions of 20th century, is himself not at all a pessimist, but a believer in human kind.

"The Big Heat" is a good-cop-vs-city-corruption story based on a serial by William P. McGivern that ran in the "Saturday Evening Post". Police Sergeant David Bannion (Glenn Ford) becomes suspicious while investigating the suicide of a police officer when the dead man's girlfriend is murdered shortly after she speaks to him. But Bannion is ordered to lay off the dead cop's sinister widow, Bertha Duncan (Jeanette Nolan), and to leave the murder case to another jurisdiction. He pursues the case anyway, confronting a prominent businessman named Mike Lagana (Alexander Scourby) who built his fortune on crime and to whom all roads of corruption in this town lead. Lagana's violent reprisal further provokes Bannion into an obsessive campaign to bring down the entire corrupt network of criminals, politicians, and complicitous cops.

Glenn Ford and director Fritz Lang give us a complicated picture of David Bannion, a man who is kind and devoted to his family, but whose obsessive pursuit of justice leaves a trail of death and destruction. The crusading cop who risks his life to combat the violence and corruption that permeate his town is, at the same time, generally unconcerned with the human cost of his pique. Bannion's single-mindedness is understandable considering his circumstances, but this good guy with admirable ambitions has the flaws of a self-righteous crusader. And that's a lot more interesting than a man who's all good.

Gloria Grahame gives a memorable performance as Debby Marsh, the girlfriend of one of Lagana's goons. She is the antithesis of the smart, literate Laurel Gray, whom Grahame portrayed in "In a Lonely Place". Debby is an unsophisticated-but-savvy, happy-go-lucky woman who tries to enjoy life in spite of depending on sadistic gangsters for her livelihood. And she suffers for being caught between the conflicting obsessions of two men: her boyfriend Vince and David Bannion. Debby's childlike voice and chin-up demeanor in the midst of moral chaos really make an impression.

The DVD (The Columbia/ Tristar 2001 release): Bonus features are "Vintage Advertising", which is a slideshow of some posters for the film, and Theatrical Trailers for "The Big Heat", "The Lady from Shanghai", and "Suddenly, Last Summer". Subtitles are available in English, French, Spanish, Portuguese, Chinese, Korean, and Thai. Dubbing is available in French.

"The Big Heat", Fritz Lang's concise, hard-hitting Noir drama, both defines the genre in it's 'mature' form (with the obligatory black and white, high contrast photography, a short running time, a hero, portrayed by Glenn Ford, who teeters between justice and vengeance, and villains, particularly Lee Marvin, every bit as shaded and complex as Ford), and tosses in, almost casually, a fascinating subtext, that the three central female characters of the film are, in fact, as essential as their male counterparts, and even more interesting! Portrayed by Jocelyn Brando (Marlon's older sister), Jeanette Nolan, and the fabulous Gloria Grahame, they are not only pivital to the plot, but actually become the characters you're most likely to leave the film talking about.

Beginning with the suicide of a cop 'on the take', who leaves a letter exposing the mob's connections with the police and local government, the film first introduces Nolan, as a less-than-grieving widow, who steals the letter, and uses it as leverage to enjoy 'the good life'. An underrated actress, usually cast in sweet-natured supporting 'grandmotherly' roles, Nolan here gets to cut loose, blackmailing the mob while tossing false 'leads' to cop Ford, and adjusting her 'image' to suit whatever situation she faces. Her portrayal, alone, would make this an extraordinary film!

Ford, the dedicated, honest homicide detective, has a history of ruffling official feathers to find the truth, and much of his strength comes from the love and support of wife Brando. Not your 'traditional' 50s wife, she 'samples' his drinks and food, hints at her satisfying sex life (remarkable, in itself!), and casually smokes while preparing dinner, sweetly bantering with her husband. In the smallest of the central female roles, it is easy to 'lose' her, between the flashier performances of Nolan and Grahame, but, in fact, she is the catalyst of the plot, whose untimely demise would set the chain of events in motion.

Then there is Gloria Grahame, the 'party girl' mistress of enforcer Lee Marvin...wisecracking, and blissfully ignorant of the risks she takes in verbally 'jabbing' her boyfriend's relationship to mob boss Alexander Scourby, she grabs the screen, each scene she's in, and makes Marvin's performance, as a genial yet psychopathic sadist, even better. When she warms up to Ford, she is rewarded with a pot of scalding coffee in the face, disfiguring her, and providing the hook to blow things wide-open...

Three powerhouse performances, by three terrific actresses!

Fritz Lang's American film work was always remarkable, and "The Big Heat" showcased him at the top of his form.

The film is, deservedly, a classic!

Basically a tough and compelling police melodrama. Lang adds tension and some scenes have become little gems, but he doesn't capture the atmosphere and essence of 'Noir'. The plot about corruption and greed is very tame by today's standards and time has taken away much of the impact. This will always be remembered as the film where Lee Marvin threw boiling coffee on Gloria Graheme's face. Glenn Ford gives his best performance as the tough-as-nails Bannion. Lee Marvin is also superb as the sadistic Vince. But Gloria Graheme is the one who gives the most memorable performance as Vince's moll who gets horribly disfigured and ultimately saves the day but with tragic conclusions. The final shoot-out sequence is memorable and Graheme's last speech is touching. Works better as a police drama than a definitive 'noir'. From a scale of 1-10 I give this film a 7!

Brilliantly directed by Fritz Lang, The Big Heat stands as one of the most symbolic crime/noir films in American cinema. Working from a powerful script by Sydney Boehm, Lang merges the vengeful hostilities of an incorruptable cop with the powerful forces that control big city politics. Twenty years before Serpico, detective Dave Bannion ( Glenn Ford) lashes out against the covert marriage of organized crime and the police force. The Big Heat broke barriers that were previously unexplored in crime films. Alex Scourby as Mike Lagana gives an accurate portrayal of how Mafia bosses strived to legitimize their illegal deals as part of doing business in America. Lagana represented the Italian immigrant whose successes are not only measured by his palatial mansion, but also by the social standing and acceptance that he has solidified for his family. Bannion angered by Lagana's web of influence, stages a lone vendetta that intensifies when his wife (Jocelyn Brando) is killed by a car bomb planted by one of Lagana's hoods. Boehm's script raised the bar for actors such as Lee Marvin ( Vince Stone) to break the conventionality of crimminal behavior. Stone's vicious demeanor is waxed with a slick and suave manner. Marvin does not have to "act" like a tough guy a la James Cagney. Vince Stone's screen presence alone, redefined gangster behavior. Not until Joe Peschi arrived on the scene (Once Upon A Time In America, Goodfellas, Casino) did the role of the gangster take on another dimension. Edward G. Robinson, Humphrey Bogart, and George Raft characterizations seem amateurish compared to the rawness and unpretentiousness evident in Lee Marvin's performance. Perky Gloria Grahame also shines as Vince's girfriend Debbie, who pokes fun at his subservience to the omnipotent Lagana. Frits Lang ushered in a new dimension for the crime drama. By 1953 most Americans could no longer deny the existance or influence of organized crime upon society. The days of the "Little Ceasars" and the bootleggers were over; replaced with a more complex and dangerous syndicate. The Big Heat exemplified this when the sanctity of a middle class family like the Bannion's is violently destroyed. The Big Heat pushed the envelope on crime violence and exposed the vunerability of American society to a complex form of evil.

This film is definitely one of the best Film Noirs I've ever seen. This tale of corruption, greed and revenge is packed with action galore and all kinds of plot twists and surprises, until the very end...and I won't spoil anybody's fun by giving away any of it.

Fritz Lang's deft direction is impeccable; the pacing is fast and keeps your attention all the time, and the cast is full of excellent actors.

Glenn Ford is magnificent as the embittered policeman; charged with hatred and revenge in his veins. Gloria Grahame is excellent, as always, as the apparently air-headed gangster's moll, with a "hidden ace in her sleeve". Jocelyn Brando (Marlon's older sister) is very fine as Ford's down-to-earth and strong-tempered wife. Lee Marvin excels in one of his first tough roles as a psychopathic hit man.

Others in this excellent cast are: Jeanette Nolan (who played Lady Mac Beth opposite Orson Welles in the latter's rendition of Shakespeare's Classic), as a hard-as-nails, ambitious, no-holds barred woman; Carolyn Jones in a small role as a gangster's moll (victimized by Lee Marvin); and Edith Evanson, a very active character actress, plays a crippled secretary, who's a pivotal circumstantial witness of some shady-doings that occur during the film's course.

Also, look for Celia Lovsky, a prolific character actress and Peter Lorre's first wife and who (reputedly) was responsible for his casting in the title role of Fritz Lang's 1931 German masterpiece "M", featured as (mobster) Lagana's mother on a painted portrait he has in his study.

There's a nice vignette during the film; when Glenn Ford's character enters "The Retreat Club" and meets Lee Marvin's character face-to-face, "Put the Blame on Mame" ( Gilda's famous song) is playing on the background.

This one's not to be missed!

This review is for the 2001 Columbia/Tristar DVD.

The movie opens with a policeman committing suicide in his home. His wife immediately finds him dead and reads a suicide note. Instead of calling the police, she first calls a major crime syndicate boss named Mike Lagana (Alexander Scourby). The police eventually arrive at the dead policeman's house and detective sergeant Dave Bannion (Glenn Ford) leads the investigation. At first, it appears to be an open and shut case of suicide, but Bannion digs a bit deeper and through a series of related circumstances, Bannion has reason to believe that Lagana had some involvement in the suicide. At this point, not only Lagana appears to be his adversary, but a corrupt police department becomes an obstacle for getting to the bottom of the investigation. From this point on, the movie advances to a very volatile conflict between Bannion and Lagana and the police department.

This movie was directed by Fritz Lang and was extremely well made. It's not the typical cops versus bad guys movie for a number of reasons. First, it reveals corruption high up inside a law enforcement agency. Second, it shows a very personal and human side of the Bannion character. Furthermore, Glenn Ford does an outstanding job walking the thin line of being a tough cop avenging the wrongs of some despicable people, yet maintains a high moral standard in the process. Another thing that becomes obvious is that the villains are ruthless and the attacks are relatively brutal for this era. A young Lee Marvin plays one of Lagana's henchmen. Also, one will notice that even though it's a film noir movie, this 1953 film is noticeably different than the films made in the 1940's due to the more prosperous time of the era with different scenes taking place in several nice suburban homes, an upscale penthouse and a swanky lounge. In other words, the mood is very dark but the ascetics of the settings are not. Overall, it's an intense movie with plenty of drama with a nearly flawless plot.

The DVD quality has a sharp picture, but it's clearly un-restored. Some small specs of film wear could be seen continuously through the entire course of the movie, which is disappointing for a film this well made. The sound is excellent. The only bonus features are three vintage Columbia trailers including one for the Big Heat.


Movie: A

DVD Quality: B-

With the possible exception of "Beyond a Reasonable Doubt" (1956), Fritz Lang's "The Big Heat" (1953) was the director's last masterpiece. Tough and uncompromising, it is a provocative crime thriller that features Glenn Ford's best performance as an honest cop battling big-city corruption - and the terrible price he pays. Gloria Grahame and Lee Marvin give equally effective portrayals in this classic film noir. "The Big Heat" remains a powerful, unforgettable work.

A great Fritz Lang movie exploring the depths of big time corruption. Glenn Ford does a wonderful job, depicting a police officer who will stop at nothing to bring down mob boss Lagana and his henchmen. The scene when Gloria Grahame is burned by coffee thrown at her face is an all-time great. Glenn Ford should have been nominated for an Oscar, and I will go as far as saying he should have won one as well.

The Big Heat is similar to some of Fritz Lang's German films, like M and the Doctor Mabuse series. It links crime and politics (or, more accurately, criminals and a politicians), and shows the future as concentration camp, where even those who imagine themselves on the outside of the barbed wire are trapped inside.

But is Lang retelling the story of what happened in Germany, or is he warning his adopted country what could happen if people didn't challenge authority (here the police department, including the commissioner) that had been corrupted by a criminal leader? Maybe both.

The Big Heat is violent even compared to today's films and more believable than most. However one thing that jars today is the effeminacy of the crime boss, Mike Lagana, used as shorthand to show his corruption.

We first see Lagana in bed in silk pajamas with his bodyguard (in his robe) standing over Lagana, handing him the phone, lighting his cigarette. When Dave Bannion (Glenn Ford), the homicide detective who won't follow orders and leave Lagana alone, barges into Lagana's mansion to confront him about a cop's suicide, Lagana is under a huge portrait of his dead mother ("We lived together in this house"). Even from beyond the grave you can feel the mother's unhealthy influence on her son. Lagana mentions his daughter but never his wife.

For the most part you can tell the criminals from the decent people because the criminals dress better. Gloria Grahame's Debby Marsh, girlfriend of the vicious killer Vince Stone (Lee Marvin), tells the blackmailing wife of a policeman who was on the take, "We're sisters under the mink."

Debby and the cop's wife are just one pair of doubles in the movie. There's also Debby and Katie, Dave Bannion's wife. (Katie playfully suggests Dave tell his friends she's an heiress. Later, trying to explain why she's with Vince, Debby asks Bannion, "You think I was born an heiress?") Another set of doubles is Lagana's gang and the group of veterans Bannion's brother-in-law gets to protect Bannion's little girl. One vet (described as a poet by one of his friends) shows Bannion his gun and says anyone who comes through the door for the girl is dead. The poet transformed by war (definitely a non-WASP) says he's seen things you can only see from a tank, and starts to say he was one of the first into - - What? Auschwitz? Vince and the hoods playing poker in his penthouse enjoy violence for its own sake. The vets will only use violence if necessary to protect the innocent. But the vets are playing poker too, and seem to relish the prospect of taking revenge on Bannion's enemies, who haven't done anything to them. Between good and evil there are differences but also similarities.

Bannion goes to Victory auto repair, looking for a "mechanic," an explosives expert. The owner says he can't help ("I got a wife and kids, too") but a crippled woman who works as a secretary tells Bannion what he needs to know. Bannion stands outside the auto yard, talking through the fence. Inside the compound the limping woman is just another of the unfit, the "life undeserving of life" tortured and exterminated in other camps, and in camps that exist today.

When Bannion tells the crooked cop's wife, "The city's being strangled by a gang of thieves," she smiles and says, "The coming years are going to be just fine." Just the way things looked in the thirties if you weren't one of those inside the camps.

"Thief" is the strongest epithet Bannion uses. Not "killer" or "murderer." The criminals and the politicians who go along with them are stealing his city. Though people don't like hearing what Bannion has to say, they're lucky he won't quit fighting the murderers among us.