By the Mid-Late-50's Film-Noir was often Seen in 2-Story Suburban Homes, as Opposed to the Streets of an Inner-City.
A Certain Aesthetic of Style is Surely Missing from the Genre that was Birthed Mostly on the "Mean-Streets" of Urban-America, Down Dark Alleys, Neon-Lit Bars, and Desperate Men and Woman Trying to Survive Among the Corruption and Decadence.
Morphing Early on, About 1950, Film-Noir Quickly Became a More Living-Room, TV-Fixated Genre Called "Police-Procedural" and were Cranked Out Steadily Over-Shadowing True-Film-Noir that Faded Fast,
By the Mid-50's and into the Early 60's, Crime Films and Heavily Dramatic Psychological Films were Often Brightly-Lit (antithesis to Noir) Sets and Sprawling Open Suburban Landscapes, and Carpeted Homes with Barb-B-Q Back-Yards.
That's where "The Big Caper" is Set.
But the Hoodlums and Gang Members are Film-Noir "Friendly".
Psychos, Nymphos, Homosexuals, Alcoholics, Pyromaniacs, Cold Blooded Killers...are Lurking About the Bright-Sun and in 2nd Bedrooms, Reeking Havoc while Waiting for the Heist to be Planned and Executed.
Rory Calhoun Leads an Eclectic Cast, but is the Only Sane Member of these Misfits, Misanthropes, and Con-Men.
He Hooks Up with the Gang-Leader's (James Gregory) Gal (Mary Costa) as a Faux Married Couple as to Not Arouse Suspicion.
There's a Bleach-Blonde-Body-Builder, who probably is Gay, that Likes to Show Off His Muscles, Switch-Blade Dogs, and Strangle any "Doll" who Might Cause Trouble.
There's an Elderly Fire-Starter that is Drowning Himself in Gin and is Ready to Blow-Up a High-School with Kids Rehearsing as a Diversion.
There's the Safe-Cracker whose All Business, who Probably Has a Ph.d ("Pass me the soup, I make my own, and step back") and is Worried about Getting to the Bus Station and getting Out of Town Fast.
Other Assorted Gunsels and Thugs are Imported in, and Before You Know it the Bank-Heist is Over and so is the Movie.
One of the Most Abrupt Endings Ever.
Bizarre, Fast-Paced, and Lurid.
A Certain Aesthetic of Style is Surely Missing from the Genre that was Birthed Mostly on the "Mean-Streets" of Urban-America, Down Dark Alleys, Neon-Lit Bars, and Desperate Men and Woman Trying to Survive Among the Corruption and Decadence.
Morphing Early on, About 1950, Film-Noir Quickly Became a More Living-Room, TV-Fixated Genre Called "Police-Procedural" and were Cranked Out Steadily Over-Shadowing True-Film-Noir that Faded Fast,
By the Mid-50's and into the Early 60's, Crime Films and Heavily Dramatic Psychological Films were Often Brightly-Lit (antithesis to Noir) Sets and Sprawling Open Suburban Landscapes, and Carpeted Homes with Barb-B-Q Back-Yards.
That's where "The Big Caper" is Set.
But the Hoodlums and Gang Members are Film-Noir "Friendly".
Psychos, Nymphos, Homosexuals, Alcoholics, Pyromaniacs, Cold Blooded Killers...are Lurking About the Bright-Sun and in 2nd Bedrooms, Reeking Havoc while Waiting for the Heist to be Planned and Executed.
Rory Calhoun Leads an Eclectic Cast, but is the Only Sane Member of these Misfits, Misanthropes, and Con-Men.
He Hooks Up with the Gang-Leader's (James Gregory) Gal (Mary Costa) as a Faux Married Couple as to Not Arouse Suspicion.
There's a Bleach-Blonde-Body-Builder, who probably is Gay, that Likes to Show Off His Muscles, Switch-Blade Dogs, and Strangle any "Doll" who Might Cause Trouble.
There's an Elderly Fire-Starter that is Drowning Himself in Gin and is Ready to Blow-Up a High-School with Kids Rehearsing as a Diversion.
There's the Safe-Cracker whose All Business, who Probably Has a Ph.d ("Pass me the soup, I make my own, and step back") and is Worried about Getting to the Bus Station and getting Out of Town Fast.
Other Assorted Gunsels and Thugs are Imported in, and Before You Know it the Bank-Heist is Over and so is the Movie.
One of the Most Abrupt Endings Ever.
Bizarre, Fast-Paced, and Lurid.