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6,7/10
1,4 k
MA NOTE
Craignant la prison à vie pour un quatrième délit, le condamné Duke Berne se retire d'un vol de voiture blindée, planifié par son avocat véreux, mais il est tout de même piégé pour le vol.Craignant la prison à vie pour un quatrième délit, le condamné Duke Berne se retire d'un vol de voiture blindée, planifié par son avocat véreux, mais il est tout de même piégé pour le vol.Craignant la prison à vie pour un quatrième délit, le condamné Duke Berne se retire d'un vol de voiture blindée, planifié par son avocat véreux, mais il est tout de même piégé pour le vol.
- Réalisation
- Scénario
- Casting principal
Joe Downing
- Frenchy
- (as Joseph Downing)
Joe King
- Prosecutor Toohey
- (as Joseph King)
Avis à la une
"The Big Shot" is a 1942 film starring Humphrey Bogart and Irene Manning. Bogie is a career criminal, Joseph Berne, who is sent to prison for life for something he didn't do - set up by his own attorney (Stanley Ridges), who finds out that Joe is involved with his wife (Manning). Berne's fake alibi is provided by a young salesman, George Anderson, who needed money and instead gets a year for perjury. It's George's predicament later on that gives Joe a crisis of conscience.
After years of toil at Warner Brothers, Bogart is now a star, and his image as a gangster is softening and would morph with Casablanca into an anti-hero. He does a good job in this film - his story is told in flashback from the prison hospital. The script is problematic. One glaring offense is that the police locate a criminal in a cabin. When they get there, they don't surround it, and their prey, not even aware the police are there, go out the back and drive away. Most viewers are aware that the cops surround an edifice. Not here. The movie is not particularly well directed by Lewis Seiler. There is, however, an exciting car chase.
Of interest here is George's girlfriend, the beautiful and doomed Susan Peters, who less than three years later would be paralyzed in a hunting accident. She was signed by MGM after this film. 1942 was a banner year for her, as she was nominated for a supporting Best Actress Oscar for "Random Harvest." She died in 1952. One of Hollywood's saddest stories.
After years of toil at Warner Brothers, Bogart is now a star, and his image as a gangster is softening and would morph with Casablanca into an anti-hero. He does a good job in this film - his story is told in flashback from the prison hospital. The script is problematic. One glaring offense is that the police locate a criminal in a cabin. When they get there, they don't surround it, and their prey, not even aware the police are there, go out the back and drive away. Most viewers are aware that the cops surround an edifice. Not here. The movie is not particularly well directed by Lewis Seiler. There is, however, an exciting car chase.
Of interest here is George's girlfriend, the beautiful and doomed Susan Peters, who less than three years later would be paralyzed in a hunting accident. She was signed by MGM after this film. 1942 was a banner year for her, as she was nominated for a supporting Best Actress Oscar for "Random Harvest." She died in 1952. One of Hollywood's saddest stories.
HUMPHREY BOGART once admitted that he had to spend years at Warner Bros. dodging bullets and writhing around on the floor as a bullet-ridden gangster type, before being taken seriously in other roles.
THE BIG SHOT is a prime example. It came at a stage in his career where he was on the verge of becoming one of the biggest stars ever, with CASABALANA giving him the iconic role of Rick and taking him away from gangster roles for awhile. But until then, he was still a full-fledged gangster star.
Basically, it's a grade-B yarn with IRENE MANNING (who starred in "The Desert Song" opposite Dennis Morgan a year later), as his romantic interest in a cast that includes SUSAN PETERS, STANLEY RIDGES, MINOR WATSON and HOWARD DA SILVA.
Bogart is an ex-inmate, a three-time loser trying to go straight and we see his story in flashback as he lies on a hospital bed. Lured back into a life of crime when he can't find a job, he joins Da Silva's gang and has to deal with romantic complications involving ex-girlfriend Manning, married to crime boss Stanley Ridges. He gets accused of being one of the armored car bandits and has to figure a way to get himself clear of a frame-up. Ridges frames him while posing as his lawyer and Bogart gets sent to prison for a life term.
The prison break scene is the highlight of the drama and rescues the film from a slow pace that only steams up toward the conclusion. Bogart has a moral problem. A good guy (RICHARD TRAVIS) who tried to prevent Bogie and friend from making a jail break, gets accused of being mixed up in the escape. When a prison guard dies during the attempt, Travis has to take the blame.
The plot takes a turn when Bogart decides he can't let Travis, an innocent man, take the rap.
Summing up: Worthwhile for Bogie fans, but we've all seen this kind of crime drama before.
THE BIG SHOT is a prime example. It came at a stage in his career where he was on the verge of becoming one of the biggest stars ever, with CASABALANA giving him the iconic role of Rick and taking him away from gangster roles for awhile. But until then, he was still a full-fledged gangster star.
Basically, it's a grade-B yarn with IRENE MANNING (who starred in "The Desert Song" opposite Dennis Morgan a year later), as his romantic interest in a cast that includes SUSAN PETERS, STANLEY RIDGES, MINOR WATSON and HOWARD DA SILVA.
Bogart is an ex-inmate, a three-time loser trying to go straight and we see his story in flashback as he lies on a hospital bed. Lured back into a life of crime when he can't find a job, he joins Da Silva's gang and has to deal with romantic complications involving ex-girlfriend Manning, married to crime boss Stanley Ridges. He gets accused of being one of the armored car bandits and has to figure a way to get himself clear of a frame-up. Ridges frames him while posing as his lawyer and Bogart gets sent to prison for a life term.
The prison break scene is the highlight of the drama and rescues the film from a slow pace that only steams up toward the conclusion. Bogart has a moral problem. A good guy (RICHARD TRAVIS) who tried to prevent Bogie and friend from making a jail break, gets accused of being mixed up in the escape. When a prison guard dies during the attempt, Travis has to take the blame.
The plot takes a turn when Bogart decides he can't let Travis, an innocent man, take the rap.
Summing up: Worthwhile for Bogie fans, but we've all seen this kind of crime drama before.
This lost little bit of film noir featuring Bogart in his usual tough guy role (this film being made just previous to Casablanca) is not a bad watch for a lazy afternoon. There is nothing stellar about the plot, the performances, or the action, and some of it is even quite funny. Watch as the camera is pushed in at the actors' faces at key moments time and time again. Another fun part is the snowy car/motorcycle chase, a danger anyone who has fish-tailed their car on the way to work on a cold winter morning can relate to. If you haven't seen "Casablanca" or the "The Maltese Falcon," make sure you've seen those first, but you could certainly do worse than "The Big Shot."
In this crime drama from Warner Brothers and director Lewis Seiler, career criminal Duke Berne (Humphrey Bogart) is a paroled three-time loser, destined for a life sentence if he gets busted again. He tries to stay clean, but old compatriots coax him into helping out on an armored car robbery. Things go south, and he ends up behind bars, with nothing but escape offering any hope.
This is average material elevated a bit by Bogart's presence. The armored car robbery sequence is excitingly shot, as is the prison escape attempt, and a snowy car chase. The supporting cast is a bit weak, though Irene Manning and Susan Peters are both lovely to look at. This was a bittersweet film for me, as it was the last major Bogart film that I had not seen. Only A Devil with Women (1930) and Body and Soul (1931) remain unseen. I know it's a bit cliche, but Bogart is my favorite actor of the classic film era, so knowing that there are no more major films out there that I have not seen is a little bit sad. On a side note, I notice that this hadn't been shown on TCM until this year, after a 13 year absence from the channel, which is strange since it's a Bogart picture and a Warner Brothers release, with it only having been shown five total times since 1994. This could be due to the blackface performance that happens during the prison show sequence.
This is average material elevated a bit by Bogart's presence. The armored car robbery sequence is excitingly shot, as is the prison escape attempt, and a snowy car chase. The supporting cast is a bit weak, though Irene Manning and Susan Peters are both lovely to look at. This was a bittersweet film for me, as it was the last major Bogart film that I had not seen. Only A Devil with Women (1930) and Body and Soul (1931) remain unseen. I know it's a bit cliche, but Bogart is my favorite actor of the classic film era, so knowing that there are no more major films out there that I have not seen is a little bit sad. On a side note, I notice that this hadn't been shown on TCM until this year, after a 13 year absence from the channel, which is strange since it's a Bogart picture and a Warner Brothers release, with it only having been shown five total times since 1994. This could be due to the blackface performance that happens during the prison show sequence.
This movie is very similar to Bogie's first movie "Up the River." Having seen all but three of his movies I was not expecting very much and chose to watch it only because it was one I had never seen before. I was pleasantly surprised by the acting. But, the location shoots and especially the stunt work was extremely well done for the time. The first car crash was very different than those of most movies that are over 65 years old, showing a car crashing through other cars and then flying off of a ramp and rotating through the air before it exploded into flames. The location shots taken in the snow covered high mountain country provide glimpses of vintage life in rural America of 1940. And the ending car chase and motorcycle stunts were very impressive for stunt men without the safety equipment that is now used. Even the dance scenes that "Dancer" was in were also enjoyable and revealed some of the dancing style of vaudeville. All in all the movie was entertaining and worth seeing, especially if you are a fan of Bogart and early stunt work.
Le saviez-vous
- AnecdotesThis was the last of Humphrey Bogart's mobster roles until he reprised the role of Duke Mantee in The Petrified Forest (1955). Although he sometimes played criminals after this film, his characters weren't members of any organized crime gang.
- GaffesDuring the exciting chase on snow and icy road towards the end, the pursuing police on motorbikes are seen through the rear window of Duke's car, shooting bullets through the glass. However, during a quick series of exterior and interior cuts, the motorbikes disappear and then quickly reappear on one occasion.
- Citations
Joseph 'Duke' Berne: When a thing stinks, it stinks.
- ConnexionsReferenced in Sauve qui peut (1965)
- Bandes originalesSweet Georgia Brown
(uncredited)
Music by Maceo Pinkard and Ben Bernie
Played during Dancer's stage act
Meilleurs choix
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- How long is The Big Shot?Alimenté par Alexa
Détails
Box-office
- Budget
- 417 000 $US (estimé)
- Durée
- 1h 22min(82 min)
- Couleur
- Rapport de forme
- 1.33 : 1
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