I absolutely loved this film. I am usually leery of film noir because of a tendency to overdo the "artsy" camera angles and to engage in long, boring and talky scenes. But, this great film had none of those faults. It was fast paced from beginning to end and never bogged down. The script was extremely well written and the cast of fine actors ran with it and made watching the story a most entertaining event. With a cast headed by the likes of Glenn Ford, Gloria Graham, Jeanette Nolan, Lee Marvin, Alexander Scourby and aided by many solid and dependable supporting actors, this film is now on my "favorites" list.
The Big Heat (1953) 1080p YIFY Movie
The Big Heat (1953) 1080p
The Big Heat is a movie starring Glenn Ford, Gloria Grahame, and Jocelyn Brando. Tough cop Dave Bannion takes on a politically powerful crime syndicate.
IMDB: 8.03 Likes
The Synopsis for The Big Heat (1953) 1080p
Dave Bannion is an upright cop on the trail of a vicious gang he suspects holds power over the police force. Bannion is tipped off after a colleague's suicide and his fellow officers' suspicious silence lead him to believe that they are on the gangsters' payroll. When a bomb meant for him kills his wife instead, Bannion becomes a furious force of vengeance and justice, aided along the way by the gangster's spurned girlfriend Debby. As Bannion and Debby fall further and further into the Gangland's insidious and brutal trap, they must use any means necessary (including murder) to get to the truth.
The Director and Players for The Big Heat (1953) 1080p
The Reviews for The Big Heat (1953) 1080p
Well written and acted thrillerReviewed byreve-2Vote: 10/10
I can't improve on the comment below, which sums up my feelings for this movie perfectly. It really is a great one. And very fast moving! The 90 minutes flew by. There are many great scenes, and they all involve Gloria Grahame and Lee Marvin, one of the most twisted couples ever. You may never look at a pot of coffee or a mink coat the same way again.
Fritz Lang's films are fascinating takes on their genres because of his wisdom concering social evils, combining them with the unlikely perceptions of morally ambivalent characters. The Big Heat, however, appears to be a simple good vs. evil tale. An earnest family-oriented homicide detective played with a brimming force by Glenn Ford investigates the death of a fellow officer named Tom Duncan. It would seem to be an open-and-shut case, suicide brought on by depression, suspicion, implication and gut feelings leading up the hierarchy of the city mafia and to a retalation too close to Ford's home. Ford confronts a suave mob boss played by Alexander Scourby in his palatial home, where Scourby berates him for his nerve to bring his business into his home, to which Ford check-mates with a rhetorical interpretation of Scourby's criminality, implying the double standard of Scourby having his men deliver phone threats to his house. Of course, Marvin has yet to fully grasp just how far Scourby is willing to go with that double standard.
Le Marvin plays a degenerate, abusive gang thug who is rotten to the core, an almost robotic agent of corruption and violence. He is sought after by Ford's heartening good guy. But The Big Heat is a classic revenge story. It rouses the vindictive morale inherent in the emotional facet of our hearts. And again, Lang unfolds a narrative following the darker side of a good person. Holding true to our lust for Ford's vindication, as well as the legal justice that serves as its circumstantial springboard, the bad guys are absolutely despicable slime, but Gloria Grahame's character is the misreading.
Grahame, a fireworks display of unwavering presence, emotive skillfulness and unabashed sexiness, plays Marvin's girlfriend, whom we first see impressed when Ford stands up to her man after viciously punishes a girl in a nightclub by burning her hand with a cigarette butt, forcing him and his bodyguard out of the joint. She tries to get friendly with Ford, who keeps pointing out that she gets her money from a thief. Marsh states: "I've been rich and I've been poor. Believe me, rich is better." But when she unwittingly reminds him of the time he courted his late wife he sends her packing: "Well, you're about as romantic as a pair of handcuffs," she remarks. Despite her deceptive appearance as just another token gun moll, there is already very telling subtext latently established in this scene. What ignites her fascinating transformation is a shocking scene of cringe-inducing violence, when Marvin accuses her of talking to a cop about his activities and throws boiling coffee at her face, a shot that betrays this grisly act, for Lang understands the augmented horror of what we can only hear and not see.
Grahame is on the wrong side of the law who is driven to a means of justice, as we see in her greatly increased screen time during the last half of the film. And boy, is revenge ever a dish best served cold. Lang's truth-seeking wisdom is the key to its transcendence of average formulaic noir exercise. There is an intrinsic need for each major and minor character. Some of them are highly unlikely on Hollywood terms but zealously realistic on social terms, such as a mob informant in the form of an old woman with a limp working at a storefront junkyard. And on top of it all, Grahame is the emboldened highlight of whom you simply cannot get enough in this thriller, one of the most masterful, entertaining and timeless achievements of the silver screen noir variety.