
by Allan Fish
(USA 1949 72m) DVD1/2
Oh – a two letter word meaning nothing in particular
p Jack J.Gross d Don Siegel w Gerald Drayson Adams, Daniel Mainwaring story “The Road to Carmichael’s” by Richard Wormser ph Harry J.Wild ed Samuel F.Beetley m Leigh Harline art Albert S.d’Agostino
Robert Mitchum (Lieutenant Duke Halliday), Jane Greer (Joan ‘Chiquita’ Graham), William Bendix (Captain Vincent Blake), Ramon Novarro (Inspector Generale Artega), Patric Knowles (Jim Fiske), John Qualen (Seaton), Don Alvarado,
A film to bring a smile to the mere recollection, The Big Steal is one of those lucky flukes, a film for film buffs to adore. It could so easily not have been made. Howard Hughes had just taken over RKO and was making his likes and dislikes made pretty clear. Robert Mitchum was persona non grata following his arrest and brief incarceration for marijuana possession, and was given the film as penance, a B movie to be directed by an effective novice called Don Siegel. It would be shot on the cheap in Tehuacán in Mexico, and potential leading ladies were turning it down left, right and centre. Then enter Jane Greer. She and Mitchum had worked together immortally in Out of the Past a year or two earlier. They were close friends, and Mitchum looked forward to working with her again, while his affection for her would help while she was in the early days of pregnancy and had to take it relatively easy. There was one problem; Greer and Hughes had a history. Hughes had brought her to California in the first place, but he obsessed over her, kept her under affective house arrest until she had enough. She was now happily married, but it seemed like Hughes would hold fast to his promise that, though she would be paid, she’d never work again while he was head of RKO. Thankfully, he relented, and Mitchum, Greer and Siegel set off south of the border. What they made; though it wasn’t a masterpiece and was never intended to be, was one of forties Hollywood’s most purely fun films, a mixture of thriller with essences of romantic comedy.
Our hero, Duke Halliday, works for the army payroll, and is on the run after being accused by Captain Vincent Blake if stealing $200,000. Blake and Halliday have a tussle on board ship as it pulls into port and Halliday overpowers his foe and steals his identity papers. He has just one lead, to a man called Fisk, who he knows has the money. Fisk is also being chased by his previous conquest, Joan Graham, from whom he got $2,000 under false pretences. Fisk escapes, and inadvertently Joan and Duke set off after Fisk, and with Blake in hot pursuit, in search of their respective greenbacks.
Knowles’ two-faced slimeball is typical of his later run of cowardly crooks, Qualen’s fence is more than memorable and Navarro is hilarious as the English-learning cop who sets his little mouse off to find “some bigger mouses.” There’s also a priceless contribution by the inimitable Bendix, and he has numerous moments to savour, not least when his chase of the couple is stopped by Halliday’s letting a flock of goats loose. One goat taunts him with a loud bleat, to which Bendix simply responds in kind. At its heart, though, it’s cherished as the Bob and Janey show part two. Their relaxed chemistry is not only delightful but an object lesson in understatement, Mitchum’s somewhat bullish approach countered by Greer’s wonderful wry smiles, sideways glances and slowing down of speech that made her such an enigmatic yet expressive actress (this was partly caused by her suffering from facial paralysis in her childhood, after which she learned to communicate with minimal gestures). Some of the plot developments may be silly, as if the writers made it up as they went along – abandoning their car seemingly a plot device to ensure they got caught. No Mexican cliché is left untapped, and the very essence of the film is captured in the final scene where Greer teasingly describes the Mexican courting ritual to Mitchum. “They waste an awful lot of time down here” he says, shaking his head. Greer just looks behind him, with one of her trademark looks, and purrs “Oh, I don’t know…” Cue a family of numerous children passing by. One for the desert island, just a shame Chiquita won’t be there.






Hi! Allan,
Nice review…with you touching on all of the facts, but of course!….about the film….starring that team from Jacques Tourneur’s 1947 film Out of the Past (“Film noir icon”) actor Robert Mitchum and (One of the “original” Dark City Dames) actress Jane Greer.)
Do I own this film? You betcha!….
and for those of you,” not in the know….”
….The Big Steal is on Volume 4 of the Warner Bros. Film Noir box set
Sharing the double bill with another film noir icon Edward G. Robinson in the 1955 film “Illegal.”
Allan said, “A film to bring a smile to the mere recollection, The Big Steal is one of those lucky flukes, a film for film buffs to adore….” I agree Allan, the film The Big Steal is a guilty….
DeeDee
I actually haven’t seen this one, but with my love of noir and Mitchum I certainly should. Very entertaining review, Allan.
Nice early Seigel film with the one of the coolest actor’s ever and one of the queens of film noir.
The car chase is any early indicator of things in come in future Don Siegel work like “The Lineup” and the Dirty Harry films. Nice review Allan!
Wonderfully comprehensive comment there Dee Dee, which includes its pertinent catalogue DVD info!!!
Similarly, fine acknowledgement there of Mitchum, Dave and John.
Hi! Allan and Wonders in the Dark readers…
…Here go a“follow-up” or rather I’am
“piggybacking”on or adding an addendum to my previous comment…
…Personally, I think that author Eddie Muller’s book Dark City Dames: The Wicked Women of Film Noir is a good book to read… if you want to read more about actress Jane Greer’s personal life that Allan, has already touched on here in his review of the 1949 film The Big Steal…
…Speaking of author Eddie Muller, he is going to be a guest today at the late Arthur Lyons, Film Noir Festival along with the beautiful actress Marsha Hunt…promoting his film The Grand Inquisitor, which I have watched and thoroughly enjoyed.
Thanks,
DeeDee
p.s. I have also provided a link to Eddie’s book…Dark CityDames: The Wicked Women of Film Noir
http://www.eddiemuller.com/darkcitydames.html
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i don’t know why this is a ‘guilty’ pick. i guess it’s a question of semantics, but i consider a ‘guilty pleasure’ as something that’s somewhat lowbrow and/or trashy but still great. great ‘guilty pleasures’ for me are films like SISTERS (still to me de palma’s best film), DEAD ALIVE (peter jackson’s best alonf with HEAVENLY CREATURES in my opinion), or heck even LETHAL WEAPON 2. nothing guilty about liking THE BIG STEAL, fly that flag high, allan!
also, i never realized Don Siegel directed this, never looked i guess. good to know!
Jamie, I happen to agree with your definition of guilty pleasure.
But what I mean by my definition, for this exercise, is a film that, much though it may be liked and generally wellr eceived, would never get listed amongst the great films of all time. Call it favourites column if you like.
Anyone else agree that Mitchum has to be about the coolest guy in the history of Hollywood? By this, I mean based on his roles, I have no clue what he was like off-screen.
Well, he was definitely a cool guy, and a stupendous guy. It does add up Dave!
Early in the film Angel Face (1952), Robert Mitchum slaps Jean Simmons in the face:
“When [autocratic director Otto] Preminger called for retake after retake, Mitchum, worried about his costar’s face, finally hit the director across the face and then asked him if he would like another slap.” – Mayer and Mc Donnell, Encyclopedia of Film Noir (2007)
Also the Eddie Muller book DeeDee mentioned provides some interesting info on Mitchum as a background to his Jane Greer interview.
I agree with Allan’s definition of the type of film he’s writing about if not with his calling this type a “guilty pleasure.” To me that term implies trash that is nonetheless enjoyable. “The Big Steal” is hardly trash. As Allan says, it’s unlikely anyone would ever consider it a classic. But it’s a good, very watchable and entertaining movie that has elements that are very appealing (which Allan details in his review) even to the generalist viewer and especially appealing to fans of a performer, director, or style. I personally love movies like this. Watching only bona fide classics would be like eating 7-course gourmet meals every day. Sometimes one yearns for basic comfort food, but of a certain quality–food that tastes good, is well prepared, and satisfies the appetite. Often I’m more in the mood for a movie like “The Big Steal” than for a gut-wrenching artistic masterpiece. So movies like this serve a real purpose even for hardcore movie lovers, and I don’t think guilt should be attached to their enjoyment! And I’m curious to see what titles Allan follows up this one with.
Just took a sabbatical for the weekend with Tony’s excellent piece on the same film and Jon Lanthier’s great news. A new one will be up tomorrow.
Thanks as always R.D. for your insights. I buy what you are saying here completely.