5 Against the House

Phil Karlson directed a lot of B movies and this one, "Five Against the House" is another one, released in 1955. It's notable for having Kim Novak in it just before she hit real stardom, and she's gorgeous. The other stars are Guy Madison, Brian Keith, Kerwin Mathews, and Alvy Moore. The story concerns Korea War vets in college on the GI bill who become involved in the heist of a Reno casino. It's supposed to be a lark by one of the men, Ronnie (Mathews). just to see if it could be done; he plans on returning the money. Lark or not, Al (Madison) opts out, but travels to Reno with his girlfriend Kay (Novak) and the rest of the guys as he and Kay are planning to be married there. However, the psychologically unstable Brick (Keith) decides to do the heist for real and forces his buddy Al to go along with it. Brick saved Al's life in Korea, and Al doesn't feel he can refuse him, even though the plan now involves Kay.

Though the end of the film had some excitement, the rest of it drags. The acting is adequate. Though the guys had served in Korea and entered college late, as far as I know, the Korean war lasted three years and not ten. With the exception of 29-year-old Mathews, the rest of the actors are in the 33-35 year-old range. Madison's career started out promisingly, but he became best known as Wild Bill Hickok on television and eventually made many Italian westerns; physical ailments kept him from working often past 1975 - his last credit is 8 years before his death in 1996. The other actors worked mainly in television except for the handsome Kerwin Mathews, who found career success in another type of film genre before his retirement circa 1978.

What the film has going for it is a really neat atmosphere. It was filmed on location in Lake Tahoe and Reno, and that part of it really pays off.

Of mild interest.

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.

This movie, 5 Against the House, had an interesting tag line which is why I saw it. However, I found that the build up of the story line and the build up of the characters took forever! Once the plot got going though, about thirty-five minutes in, the story took off from there and held my attention until the end. This movie is good if you are looking for an obscure film noir to view, other than that, pass on it.

Four college buddies are out in a Reno casino when they mistakenly almost get arrested for a failed robbery. Upon proving their innocence, they hear a cop saying that robbing this particular casino is nigh on impossible. This gets young Ronnie thinking that it actually can be done, and sure enough he comes up with a fool proof plan that should be played out as a joke robbery. However, after letting his pals in on the plan, one of them, Brick, an ex army loose cannon, wants to do it for real.

There are many good things about this Phil Karlson directed picture, things that made me particularly glad I paid no attention to the meagre rating on the IMDb and watched it with no expectation. The cast is very strong, Guy Madison, Brian Keith, Alvy Moore, a young pre swash buckling Kerwin Mathews and a sultry and gorgeous Kim Novak in only her second credited role. Location work at Lake Tahoe is easy on the eye and the story from John Barnwell (adapting from Jack Finney's novel) is a good one, with a kicker of an idea in how to rob a casino.

I think that newcomers to the film should prepare for a more offbeat picture than what the plot synopsis hints at. It certainly has got tense moments, courtesy in the main from Keith's borderline psycho, but it's practically a talky picture with flecks of humour right up to the finale, where it all comes together without histrionics or fanfare. Phil Karlson, with the awesome Scandal Sheet on his CV, appeared on the face of it to be a good choice to direct, but although he has done crime/adventure/romance films very well before, blending those genres into one film was asking a bit too much. It's not bad directing, it's just an odd fusion that never really comes off, and it possibly stops the film from breaking out to a bigger and more appreciative audience. Karlson remains, though, a director well worth reappraisals because he has some excellent credits on his CV that are well worth checking out.

Still, it's an oddity of sorts, and tagging it as a Noir picture is a bit of a stretch, but this is one that's definitely recommended for the pluses that do indeed far outweigh the minuses. 7/10

Uneven heist film. Making 30-somethings Madison and Keith into college students is a bit of a stretch. But I guess pairing them with the youthful Moore and Mathews presented a problem that a college dorm room could solve. Screenplay is by the celebrated TV writer Stirling Silliphant who, nonetheless, can't seem to script a line without a wise-guy quip. It's clever, but does get tiresome.

The movie has two things going for it. First is an absolutely superb performance by Brian Keith. Few actors could get more mileage out of a squint and a cigarette than this low-key tough guy. His final descent into battle-shock madness is both persuasive and oddly touching. The entire movie turns on an ability to convey the required changes and he brings them off beautifully. The other plus is the location photography in Reno. It's entertaining to watch the crowds milling around the casinos, circa 1955. How the production crew got the crowds to act so natural, without acknowledging the camera, amounts to a real feat. Also, the parking garage makes for good staging, but apparently is a commercial novelty that never caught on.

At the time, Columbia's head Harry Cohn was promoting Novak into the studio's newest sex goddess. Novak is okay in the role, but unfortunately her scenes with Madison slow down the pacing. Her role here looks like a rather awkward add-on to the main plot. In fact the heart of the film is neither the casino heist nor the Madison-Novak romance. Rather, the emotional center is the solid bond between the two Korean war vets. The chemistry between the two older men strongly portrays the kind of special kinship forged only in combat

Certainly director Phil Karlson knows his way around action movies as proved by his gripping Phenix City Story. I suspect that had he a freer hand here, a leaner, sharper, more coherent movie would have resulted. As it is, the 90 minutes is entertaining, but not front rank. As a heist movie, it's so-so; as a buddy film, it's first rate. (In passing-- Looks like the producers of Oceans 11 {1960} sat through this film more than once.)