Illustration by John Harbourne
The Big Heat (1953) Columbia Pictures
Directed by Fritz Lang
Screenplay by Sydney Boehm based on the Saturday Evening Post serial by William P. McGivern
Cinematography by Charles Lang
Music Director Mischa Bakaleinikoff
CAST: Glenn Ford (Dave Bannion), Gloria Grahame (Debby Marsh), Jocelyn Brando (Katie Bannion), Alexander Scourby (Mike Lagana), Lee Marvin (Vince Stone), Jeanette Nolan (Bertha Duncan), Peter Whitney (Tierney), Willis Bouchey (Lt. Ted Wilks), Robert Burton (Gus Burke), Adam Williams (Larry Gordon), Dorothy Green (Lucy Chapman), Carolyn Jones (Doris).
Fritz Lang made two films that gave me nightmares, M and The Big Heat. M was undoubtedly his best German film and the American film that holds that place for me is The Big Heat. With the casting of Glenn Ford, Gloria Grahame, and Lee Marvin and the most memorable script Sydney Boehm ever wrote, Lang had a classic waiting to happen. His tight direction keeps the story moving from the opening close up of the gun that crooked cop Tom Duncan is about to use take his own life to Mike Lagana (Alexander Scourby) taking the call from Bertha Duncan (Jeanette Nolan) to Debby Marsh (Gloria Grahame) taking the call from mobster Mike Lagana and in a few lines and moves, making her relationship to Vince Stone (Lee Marvin) perfectly clear.
Lang’s economy of narrative moves the story rapidly within the illusion of placid pace.
Sargent Bannion (Glenn Ford) interviews the dead man’s wife (who we know is aware of her husband’s crimes and guilt), yet she points to his ‘health’ as the reason for his suicide. Bannion is not fooled and sets off to get to the truth.
At home with his wife (Jocelyn Brando) the same economy is applied and we get a good idea of how close and idyllic a life they have together.
Once Lang has given the tour of the landscape, the gloves come off and the violence is quick and shocking.
Bannion’s quiet calm is first disturbed by the torture murder of Lucy (Dorothy Green) who tells him that Donovan did not commit suicide (above left), then by the horrific explosion that was meant for him but takes his wife instead (above right). The car blows up as Katie starts it on her way to pick up the babysitter. The house shakes violently as Bannion holds his daughter tightly before running out to find his wife dead. At this moment, the film switches gears and becomes a wild ride. Bannion is no longer the sensible cop.
His good natured demeanor has been blown away and replaced by a determination to get revenge if not justice. Vince and Tierney are psychotic and will only respond to violence. Lee Marvin’s Vince Stone is a monster as is hammered home when he punishes Debby by throwing hot coffee in her face. Marvin’s performance is one of the best of his long career and he is the villain that makes the heroine great. The wild card is Debby. Her erratic behavior making her unpredictable, but she becomes Bannion’s ally and together they bring the action to a crescendo.
There is no question that Gloria Grahame was the quintessential noir femme fatale. It is difficult to believe that Columbia tried to borrow Marilyn Monroe for the role from 20th Century Fox, but fortunately the fee was too high. It’s easy to see that Grahame was the best choice for the role. This was an actress that could move with a sureness and agility that makes the character come alive. There is so much energy in her performance as she sashays her way across the screen with a tight rope walker’s confidence. In the end, Debby does what she knows Bannion cannot, and becomes the tragic heroine.
In the well known, but out of print biography, Suicide Blonde, Lang’s behavior toward the actors was revealed as not always pleasant. Joyce Brando suffered his rath on the scene where she is feeding Ford a piece of steak, doing take after take because the dripping from the meat was not going the way the director wished. Grahame was said to be the focus of most of his ill temper, but whatever the motivation, she delivers an unforgettable performance in an unforgettable film.
The Asphalt Jungle (1950) MGM
Directed by John Huston
Screenplay by Ben Maddow and John Huston based on the Novel by W.R. Burnett
Music by Mikios Rozsa
Cinematography by Harold Rosson
CAST: Sterling Hayden (Dix Handley), Louis Calhern (Alonzo D. Emmerich), Jean Hagen (Doll Conovan), James Whitmore (Gus Minissi), Sam Jaffe (Doc Erwin Riedenschneider), Anthony Caruso (Louis Clavelli), Teresa Celli (Maria Clavelli), John McIntire (Police Commissioner Hardy), Marc Lawrence (Cobby), Barry Kelly (Lt. Detrich), Brad Dexter ( Bob Brannom), Don Haggerty (Detective Andrews/uncredited), and Marilyn Monroe (Angela Phinlay).
As always, John Huston manages to deliver a film that no one else could have imagined. Like Billy Wilder, he could work in any genre or style, while always endowing it with his own signature. The Asphalt Jungle is a seriously powerful Film Noir that taps into just as serious talent.
From Sterling Hayden as the torpedo right off of the farm and Sam Jaffe as the Professor fresh out of prison to Jean Hagen as a woman in love with a ghost, and the novice Marilyn Monroe as the ditzy mistress to Louis Calher’s greedy villain, Alonzo D. Emmerich, Huston has a palette of doomed characters only Flannery O’Conner could love.
Marilyn Monroe & Don Haggerty in The Asphalt Jungle (1950)
“Haven’t you bothered me enough already you big banana head?” Angela to Detective Andrews.
It is endowed with a dark humor as each character suffers from their own deadly obsessions. Dix (Sterling Hayden) only wants to get back to his farm at any cost, Emmerich’s greed guides him as he plots and cheats his way to ruin and Doc’s (Sam Jaffe) weakness for young girls is not only unbecoming, but dangerous.
Although the most self aware of all of the characters, in one of the best scenes in the film he gives coins to a young girl in a diner for the juke box so she will continue dancing as he stares at her, transfixed and losing his head start on the police to make his getaway.
Facts, Rumors & Hearsay
The Big Heat
Bannion’s wife Katie is played by Marlon Brando’s older sister, Jocelyn.
The portrait of Lagana’s mother is of Celia Lovsky, ex-wife of Peter Lorre. She is probably best known for her portrayal of T’Pau, the Vulcan Ambassador, in Star Trek: Amok Time (1967).
The Asphalt Jungle
A poster for this film with Marilyn Monroe in a purple dress was created much later, after she became a household name. Monroe was almost unknown when the film was made in 1950. She certainly wouldn’t have been featured on the poster, and she wasn’t even listed on the original posters.
Marilyn Monroe considered this film one of her best performances, particularly her final scene with Louis Calhern.
Miklos Rozsa’s scoring is minimal, occurring for the main titles, continuing through the opening sequence up to the point where Handley enters the cafĂ©, and then returns when Handley and Doll return to his boyhood farm. Total scoring just under 6 minutes.
Special thanks once again to John Harbourne for permission to use his wonderful The Big Heat illustration. See more of John’s incredible Film Noir Art at: John Harbourne Artist