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By Daryl Lee

A concise creation to the style approximately that one final titanic rating, The Heist movie: Stealing With Style strains this crime thriller's improvement as either a dramatic and comedian motor vehicle becoming out of movie noir (Criss Cross, The Killers, The Asphalt Jungle), mutating into smooth capers within the Sixties (Ocean's Eleven, Gambit, How to thieve a Million) and splashing throughout displays within the 2000s in remake after remake (The Thomas Crown Affair, The Italian Job, The solid Thief). equipped round a chain of case experiences (Rififi, Bob le Flambeur, The Killing, The Lavender Hill Mob, The Getaway, the Ocean's trilogy), this quantity explores why administrators of such various backgrounds, from studio regulars (Siodmak, Crichton, Siegel, Walsh and clever) to independents (Anderson, Fuller, Kubrick, Ritchie and Soderbergh), are so interested in this well known style.

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Richard Fleischer’s Armored motor vehicle theft (1950) showcased a violent, precision-engineered theft whose ‘militarisation of gang existence’ suggest it as ‘the most common of the heist sub-genre’ (Mason 2002: 99–100), simply as his later paintings Violent Saturday (1955) offered the main unsympathetic of criminals. Samuel Fuller’s condo of Bamboo (1955), in the meantime, the 1st Hollywood studio movie ever made in Japan, additionally foregrounded violence with out sympathy for the group as an entire. extra indicative of the shift was once how Phil Karlson’s darkish, anti-heroic Kansas urban personal (1952) differed vastly from his subsequent movie, 5 opposed to the home (1955), during which the viewers facets with 4 students influenced through the highbrow problem of robbing a Reno on line casino. however, Fleischer’s Violent Saturday and Fuller’s condo 38 Heist_Film_pages. indb 38 17/2/14 15:45:46 THE HEIST movie of Bamboo additionally expected the noir heist’s symbolic stream clear of its B-movie roots and innovated via experimenting with rising widescreen and color codecs (Bordwell 2008: 321). As vital an element because the audience’s reception of sympathetic thieves, then, Technicolor and CinemaScope presaged the inevitable inclination in the direction of mainstream tastes earlier than the vibrant caper fantasies of the Sixties. most important to the heist film’s heritage in this period, although, was once its transformation into an allegory for collaborative artistic job. This arises in 3 foundational noir motion pictures from the center of the last decade – Jules Dassin’s Rififi, Stanley Kubrick’s The Killing, and JeanPierre Melville’s Bob le Flambeur – but in addition in satirical works that bookend the last decade – Charles Crichton’s The Lavender Hill Mob and Mario Monicelli’s great Deal on Madonna road. This bankruptcy will learn the noir heist first sooner than relocating directly to the comedies, notwithstanding it may be obtrusive each one set profoundly formed the style. Dassin, Kubrick and Melville borrowed John Huston’s sociological curiosity in operating type humans or specialist criminals residing on society’s margins. The tragic consequence in their movies – their ‘enigmatic deadly approach’ (Telotte 1996: 163) – hones the post-war pessimism of movie noir (see bankruptcy one) within the face of a brand new company period, a pessimism deserted through such a lot post-1980 heists that induces us to characterise this manifestation of the style as a noir heist (see Telotte’s stages of the noir caper, 1996: 165–6). but regardless of the fun tone and absence of violence of Crichton’s and Monicelli’s movies, they proportion in universal with those noir heists a excitement in failure. those motion pictures are impressive for energising the sensible message of the heist by means of totally realising the genre’s power as refined mainstream parables approximately aesthetic and financial autonomy with a modernist area that celebrates failure because the ineluctable finish of creative endeavours. Allistair Rolls and Deborah Walker’s statement approximately Dassin’s Rififi applies both to the style at huge: ‘Rififi is impressive for its emphasis on crime as paintings and the function of the ability and cooperation in reworking labour into paintings.

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