The Great Bank Robbery

This is a funny piece of work by Exorcist author Blatty. Hey, it has every character actor on the list in crazy situations which play off our ever-loving Western Movie stereotypes. It was done before the great ones like Blazing Saddles, Rustler's Rhapsody and The Villain. See it and judge for yourself. The cast is great and the situations amusing.

In the western town of Friendly, there's a bank so impenetrable that even as hordes of Mexicans stampede down the street to rob it, people continue chatting and throwing horseshoes because it's just that impossible to rob. This is the bank referred to in the title of this spoofy western, in which no less than four separate teams are planning to break in, most of whom want the loot that famous outlaws have stashed there (because of it's fortress-like stature and a manager who keeps the books hidden from authorities.) Mostel plays a faux-reverend whose flock include a tunnel-digger, a demolitions man, an artist and a decoy (played by a shockingly curvy and flesh-flashing Novak.) He is the top-billed star of the film, but it's really an ensemble piece not unlike "It's a Mad, Mad, Mad, Mad World" or any other overdone comedy in which disparate people want the same thing and wind up fighting for it in an extended chase at the end. Walker plays a Texas Ranger who wants inside the bank for it's account information. Other potential bank robbers include Tamiroff and Storch leading the Mexican contingent of bandits and Akins as an outlaw who claims to hate killing people, though he does so frequently. The film is broad and occasionally loud, but has been unfairly dismissed as worthless and unfunny. Though the humor is low and sometimes lame, there are still a number of laughs to be had. All of the performers are quite dedicated to their roles and to the parodic elements of the story. Some of them just tend to overplay it. Mostel has an outlandishly ridiculous musical number which is funny in spite of itself. It's so tacky and ludicrous it winds up being entertaining on a camp level. Novak, not exactly a strong comedienne, has a lot to offer physically. She betrays all her fine earlier work in films like "Vertigo" (!) and "The Man with the Golden Arm" taking on such a decorative and exploitive role, but does deliver on those terms. Walker is everyone's ideal authority figure. Sure and proud, he's the perfect choice for his role. He has a dazzlingly bizarre picnic scene with Novak in which he is slipped some peyote and is given a rare opportunity to cut loose and have some fun while displaying (for one of the last times?) his tremendous chest. At 42, he puts anyone else on earth to shame hanging from a tree by one arm and rolling around in the grass with his head upside down. Many other familiar actors round out the cast, notably "All My Children"'s Warrick in a weak role that she makes the very most of. Cook also does well as Akin's nervous sidekick. It's all a big, overblown mess by the end (and in a grievous error, Walker is offscreen for ages in the climax), but it's worth a look for several amusing moments and the physical attributes of Novak and Walker. The approach to drugs is dated and it doesn't always hold up completely, but there is a certain degree of cleverness in it. One note: A free bag of peanuts to anyone who can understand what Tamiroff is saying in his opening scene.

About five years before this film hit the movie theaters, It's a Mad, Mad, Mad, Mad World proved a box office success. It was a cartoonish, madcap collection of skits bound together by its central theme--a race to find a buried treasure.

One might wonder if the success of that film inspired The Great Bank Robbery and other films. TGBR is also cartoonlike and wacky. Like Mad World, it features competing factions out to find wealth--this time to rob a bank of its gold. It does not boast the array of film and television stars that Mad World does, but there are a few: Zero Mostel, Kim Novak, Clint Walker, Claude Akins, Larry Storch, Sam Jaffe, Elisha Cook, Jr.

I am not sure what rating the film earned, but it contains some nudity that might deserve an R, which is surprising, because the film has the feel of a Disney product, like The Apple Dumpling Gang (1975). It even features two songs with words by Sammy Cahn.

In the end, this is an uneven film. But if you like the kind of mugging you can expect from Larry Storch or Zero Mostel, it has a certain charm.

Zero Mostel managed, after being blacklisted in the McCarthy period, to climb back to his place as one of the leading stage personalities of his day. UlYSSES IN NIGHTOWN, RHINOCEROS, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, and FIDDLER ON THE ROOF made him a Broadway immortal. The film versions of A FUNNY THING HAPPENED and THE PRODUCERS showed he could have been one of the great screen comedic actors. Then, came GREAT CATHERINE and THE GREAT BANK ROBBERY, and Zero soon was seen as good as support but not in leads. He would have other screen highlights in the future (THE HOT ROCK, THE FRONT), but the possible great film career was screwed up.

As Reverend Pious Blue, Zero was supposed to be the head of a gang masquerading as revivalists, but actually a criminal gang planning to rob the bank owned by Big John Anderson (who is also the town Mayor). The gang includes Kim Novak and John Fiedler. The trouble is that others are considering a bank robbery: Claude Atkins, the film's stereotypical (?) bad man, and a gang of Mexican bandits led by Akim Tamiroff and Larry Storch. There is also a hero, who is romancing Kim, played by Clint Walker. These various elements, which also include Atkins' sidekick Elisha Cook Jr. and Ruth Warwick, simply do not jell. There are moments that are amusing, but more that are simply stupid. The robbery itself is not as good as the destruction of the theater by Zero, Gene Wilder, and Kenneth Mars in THE PRODUCERS, and that sequence only took five minutes of film (originally - now it's been cut to three minutes). The most notable point about it was the getaway (in a balloon).

But there was one bright spot - not Zero but Claude. Atkins was always a good actor, usually as heavies (even in INHERIT THE WIND he was the fundamentalist reverend who turns against his daughter for supporting Bertram Cates). Another typical role was in THE DEFIANT ONES, when he is the man who would turn Sidney Poitier and Tony Curtis over to the Sheriff (Theodore Bickel) because of his racism. But in this film he was allowed to be unique. He is the most moralistic gunfighter I know of in film. Every time he faces one of the questionable characters in the film, he starts referring to them as "scum" or "scum of the earth". It becomes like a moralistic mantra. He is a man with a hot temper, as Cook discovers to his cost, but he can show a nice sense of remorse afterward. His over-the-top moral bad-guy is the best thing in the film. As a result watch it for that. But otherwise it was a dismal failure for everyone else involved.

This is one of those movies that makes some of us laugh out loud no matter how many times we watch it, while it leaves other people cold, and to my mind that's one kind of classic. Calling it a "comedy" may be a little misleading, because it's more of a live-action cartoon -- it's not so much funny as it is silly, but it's silly in ways that have as much to do with the dialog as with the physical comedy. To me it has much in common with the Marx Brothers classics. So it's rather beside the point to discuss how good the acting wasn't, when to some of us just watching Kim Novak and Clint Walker trying to do comedy is itself highly entertaining. And although it does illustrate its moral ("Crime doesn't pay"? "Cheaters never win"?) in a form suitable for children (and also teaches the valuable lesson that bad people can be acting as clergymen, but that doesn't undercut religion itself), I think adults generally enjoy this film more than kids do. But not all adults.