5 Against the House

5 Against The House is a stylish noir caper film that involves four Korean War Veterans and the girl friend of one of them in a heist against a Reno casino. It was directed by Phil Karlson and while it's a bit slow in developing when the action starts, it builds up to a good climax.

The four veterans are Guy Madison, Alvy Moore, Kerwin Matthews, and Brian Keith. They're in college on the GI Bill of Rights and being a bit older than the other students there and with a shared wartime bonding, they kind of keep to themselves.

After a night in Reno where they overhear an arresting cop with a suspect who tried to rob Harold's club there saying how impossible it was. That gives Kerwin Matthews who's the genius of the group an idea to plan the perfect crime.

The others mean it as a prank to give the money back, but Keith is not a well man having spent some time in the psycho ward at the Veteran's Administration. He means to keep the money and he brings a long a pistol to enforce his argument.

It's hard for Madison to say no to Keith, he saved his life in Korea. But Madison who is also romantically involved with Kim Novak resents her being roped in on the scheme.

Best in the film is Brian Keith who does a very good job in suggesting a fundamentally decent man who's been unhinged by his wartime experiences. You have to understand that in order to understand why the film ended as it did.

Novak looks fetching and lovely as always and gets a couple of inconsequential songs to sing, no doubt dubbed as they were in Pal Joey.

5 Against The House did no harm to any of the careers among the cast here. Especially that of Kim Novak who was being prepped to take Rita Hayworth's spot as Columbia Picture's new sex goddess.

Kim Novak is of course terrific (she rarely phoned one in), and it's an interesting pre-star turn, meaning before PICNIC and VERTIGO, but the rest of the cast is pretty interesting, and particularly Brian Keith---Keith did a lot of 50's B-picture work that's worth watching, if you can find it. The real reason to see this picture is because it's a Phil Karlson. Karlson is one of those guys like Don Siegel, who came up in the studio system just before television. Early live TV produced people like Frankenheimer and Arthur Penn and Paddy Chayevsky, but there were already guys in the trenches like Siegel and Karlson, who got the chance to direct because they could do it quick and cheap, but make a picture look like it didn't come from Poverty Row. (See, for example, Clint Eastwood's PLAY MISTY FOR ME. Eastwood got his shot by rock-bottom budgeting, a lesson he might have learned from Siegel.) Karlson is due for a re-evaluation, along with, say, Budd Boetticher and Burt Kennedy. Siegel seems to be getting his due, not that he couldn't use an occasional boost. But watch this, and maybe THE PHENIX CITY STORY (not a misspelling), and tell me Karlson can't do it tense.

This movie is included in one of the Columbia "Noir" DVD sets released in the early '00s. It is a rather fascinating movie but not a noir. In fact if anything it's a strange hybrid of musical and precursor to the "Ocean's" flicks (both the original Rat Pack version and the later movies with George Clooney and friends).

Four buddies in their late 20s to early 30s are law school roommates who are in college thanks to the GI Bill and their service during the Korean War. On a weekend trip to Reno, one of the students starts to hatch a plan to rob a casino of a million dollars - as a psychology experiment. He plans to return the money, as he explains to his confused roommates. But one in the group, a short-tempered guy named Brick, thinks the idea has promise, although he doesn't intend on returning the money to the casino.

Brick is played by Brian Keith, next to Kim Novak the best known actor in this movie. Before his stint on TV as the loving Uncle Bill on Family Affair, and then teaming up with Burt Reynolds for a few movies in the '70s and '80s, Keith was a character actor with a knack for playing heavies. In this movie, he's a vet who suffers from PTSD. When he can control it, he's easygoing and joking along with buddies and picking up women. But once the trauma sets in, he can become a monster.

Kim Novak is the best known face in the movie, and she has a rather thankless role as the night club singing girlfriend of one of the guys. She isn't given much to do.

The movie has some admirable things to say about vets suffering from PTSD; despite his illness, Brick prevails in the movie and it has a generally upbeat ending. This is no noir.

The on-location setting of Reno is interesting and events leading up to the caper have noir elements, but the lighting is neutral and as mentioned, the music rather inappropriate. Novak even breaks out into song during a pivotal moment for her character.

The DVD remaster is good and this is probably the most upbeat (in the end) of all of the movies in the set. But don't expect anything really riveting.

The boyish refulgence that brought him to movies over a decade earlier long since dimmed, Guy Madison has settled into William Holdenish good looks. Since Hollywood already had a Holden, and since Madison's acting skills were adequate at best, he no longer can hold the screen (this part came to him after a string of roles as Wild Bill Hickock). Luckily, Phil Karlson's 5 Against The House is an ensemble piece – an offbeat heist movie.

Madison and Brian Keith are Korea veterans attending `Midwestern University' on the G.I. Bill; their buddies are wiseacre Alvy Moore and sobersides Kerwin Mathews. Mathews (whose faint accent stays a mystery) yearns to do something extraordinary to make him stand out, and dreams up a hare-brained scheme (no more than a prank, since he plans to give the money back) to rob a casino in Reno, Nevada. They're all in on the plan except Madison, who nonetheless joins them on the road west with his girl Kim Novak, to get married. When Madison tumbles to the set-up, he tries to stop it.

The fly in the ointment, alas, is Keith, who spent time in the psychiatric ward for shell shock. He takes the prank dead seriously and intimidates the others to go along with him. Tricked out in Wild-West outfits and false beards, and wheeling a jerry-rigged money cart with a tape recorder inside, they hit the casino....

Phil Karlson falls short of top form here. The college hijinks are not this director's usual meat and potatoes, so he takes a long time getting any rhythm going. Then the heist itself, and the tensions among the robbers, seem oddly defanged, at least for Karlson; he seems to have fallen into a character study rather than an action movie, and unsure how to play it. Novak croons a couple of songs, and nobody gets killed. That's well and good, but a far cry from 99 River Street, or Kansas City Confidential, or The Phenix City Story, hard-core Karlson all. 5 Against The House remains in a no-man's-land between film noir and the light-hearted caper movies, like Ocean's 11, that would usher in the 1960s.

5 Against the House (1955)

Let's try to give this the best angle: the last half hour is terrific.

Before that is a lot of off and on development. The four hapless, likable college chaps are a kind of wobbly precursor to the "Ocean's Eleven," the 1960 casino classic (also a bit wobbly, actually, if you watch it again, but still a classic). The casino where this one begins is a vintage gem, an old style, small town joint (Reno, in 1955, was a small city), with guns on the wall and general lack of swank. It's great. And there's Kim Novak, not for her appearance or her singing (both were soon to be talked about), but simply for her screen presence, her higher level of professionalism. And she sings to some smooth easy band music. Novak was almost unknown--she had appeared in a sleeper noir called "Pushover" the previous year, but it was later in 1955 she starred in her breakout films, "Pal Joey" and "The Man with the Golden Arm". Finally, among the four lead males, Brian Keith, mostly known for decades of television work, is a surprisingly powerful figure, making the most of what he has to work with.

That's the extent of it, and Novak can't hold up the whole movie (especially all the parts she's not in--her role is relatively small). The chummy joking between the boys is weak stuff, including the college scenes, but these are meant to tap into the growing collegiate population (a full decade after WWII, college was becoming a far more normal step after high school). The initial crime incident with its interaction with the cops is patently unconvincing. And then there is the way the movie is patched together in separate segments. The first, fun road trip suddenly turns into a series of unexplained romances, which leads to the main plot again.

Why is this considered a film noir? Well, it actually has one key element, the soldier returned from war trying to cope with American mainstream life, only now the war is the Korean War, which changes both the romance and depth of the situation, at least historically. And there is, eventually, a full blown criminal aspect. In fact, the last half hour is tightly made, and if the gimmick is a bit of a stretch, it's all well done, and even if you don't like the movie overall, you'll really find the ending has a great feel to it, with lots of great night stuff. Reno back then was a neon wonderland, very cool!