The Burglar

Dan Duryea & Jayne Mansfield star in this film noir from 1957. A lengthy jewel heist is at the core of this caper as its pulled off at the film's start w/the remainder of the film having the thieves wait for the hand-off so they can get paid. Mansfield, Duryea's half sister, is sent away while they wait where she meets a guy & carries on a mini romance while Duryea does the same w/a woman, played by Martha Vickers, but what the thieves don't know is that they're being played from both ends leading up to a taut but satisfying conclusion. Made almost w/a European sensibility of action & release (the long waiting period that takes up the bulk of the narrative), this film's plot has a weird time signature to it & it works giving Duryea a good part to sink his teeth into (he usually favors the cackling villain roles) where he's at the end of his rope & suffers for it. Mansfield (mother of Law & Order: SVU's Mariska Hartigay) shows she's more than a pretty face giving nuance & detail to her small but pivotal role.

For a chance to look at Atlantic City in the Fifties before the casinos moved in The Burglar is the film for you. Dan Duryea stars in this small B film from Columbia as a professional burglar looking to make a big score with a necklace robbed from a fake spiritualist.

Duryea's team consists of Peter Capell jewelry expert, Mickey Shaughnessy muscle and hormones, and Jayne Mansfield who gives his hormones their exercise. Jayne's kind of a legacy for Duryea, if you can believe he thinks of her as kind of a kid sister. Duryea was raised by Jayne's father who was also a burglar and taught him the trade.

The robbery goes, but Duryea is spotted by cop Stewart Bradley who's on the take. So he has real police as well as this crooked one looking to get in on the score.

You'll note the similarities between The Burglar and The Asphalt Jungle. Both Duryea here and Sterling Hayden in the John Huston classic seem to be drawn inexorably to disaster. The difference is that Huston had that MGM shine to his film and this is a routine B film that's a cut above average.

Usually when a film is held up for a couple of years for release that spells problems. But The Burglar shot in 1955 and released in 1957 is moody and atmospheric and a nifty noir feature. Jayne Mansfield gets some competition in the sex pot department from Martha Vickers best remembered as Lauren Bacall's psychotic sister in The Big Sleep. She's working with Bradley who's working on Mansfield. All I can say is nice work if you can get it.

Around this time there was an attempt to make a lead of Dan Duryea, but he never really transitioned into that category. But The Burglar represents a fine bit of work from him and the rest of the cast.

All the characters seem believable, if occasionally overwrought, and Mansfield seems refreshingly like a human being. Many interesting edits keep up the pacing, and the angles are rarely less than exceptional. Easy to see why Marty Scorsese likes this one, and so do we.

This is one of those extravagantly stylized late-period noirs, one which palpitates with flamboyant cinematic technique. It belongs in the same club as those other exaggerated, self-consciously arty noirs of the late 50s/early 60s, like Touch of Evil, Kiss Me Deadly, Blast of Silence and Sam Fuller's contemporaneous contributions to the genre. Wendkos directs like a recent A+ film school graduate showing off every Hitchcock and Welles trick he's learned -- there are many stunning edits (he is also credited as the film's editor), several strikingly composed shots, and a suitably seedy background (the fact that the crooks' hideout is right next to a railway line full of speeding streamliners is a boon). At the same time, he toes the studio line of narrative clarity and cohesive action scenes enough to make this suitable viewing for the non-buff (one can see why he spent most of his years in television, but at the same time could dazzle with over-the-top effects in The Mephisto Waltz.) Fans of Atlantic City's Steel Pier are in for a treat in the film's climax (which owes a bit too much to The Lady from Shanghai) -- we even get to see the diving horse. But notably, we also see the soggy marshes that border the city and reflect the protagonists' own situational quagmire. It may not have the integrity of the more subtly devastating noirs of the Siodmak 40s, but it has its own postmodern tradition to uphold. It's worth picking this one up even on the third-generation dupes that are now in circulation; a wide-screen dvd restoration is definitely in order.

This film has a lot going for it. The opening few minutes are imaginative. Dan Duryea's acting is excellent, good enough to carry him through patches of hokey dialogue. Jayne Mansfield is nice to look at, with a pretty face, and curvaceous in a 50s sort of way before feminine beauty became thin as a rake (But what was the make-up department thinking giving her those outlandish eyebrows?). Never mind that she couldn't act. You have to enjoy the noirish atmosphere, and there are lots of outdoor scenes that catch the eye. The original music, by Sol Kaplan, is superb, or at least it would be on its own; as background it's a little too intrusive and occasionally over the top emotionally. The climax, with a deadly chase in an amusement park is a nice Hitchcock touch. Yet the movie doesn't quite work. It's hard to say exactly why. One big problem is the writing. Both the plot and the dialogue seem to have the same major flaws: at times hokey, at other times seeming to stall, leaving awkward silences or clumsy transitions. I think The Burglar might have been excellent if the studio had given more resources to developing the script, instead of leaving it in the hands of the man who wrote the novel the movie is based on.