Il grande caldo

This punchy little noir moves along at brisk clip. Glenn Ford simmers the whole time like a boiling kettle about to blow . This man has no pleasures that are obvious except his Westinghouse wife and child. Lee Marvin barely maintains control for much of the film. He is a catalogue of evil and greedy excess. Gloria Grahame is marvelous, witty, beautiful, bitter beyond hope. There is no redemption to be had for most of the characters in this sordid little universe. Conspiracy theorists of the 21st century will look back at the kind of simple-minded corrupt worldview espoused by Lang in this and other films and lament its loss. In THE BIG HEAT, evil and rot have names and faces and with enough fortitude, and the willingness to lose everything, they can be conquered. At least for a day. We know today that the whole infrastructure of power is poisoned beyond repair. The fifties held out a modicum of hope. Brief, fleeting hope. This is a violent film. Others have commented that much of the horror is committed off screen. But you can easily imagine it. Lang doesn't pull many punches here. The treadmill of denouement speeds up rapidly in the last few sections of the film. After viewing a film like THE BIG HEAT, I often want to wander down some dark street and find a corner diner, something like the one portrayed in Hoppers's NIGHTHAWKS, and have a cup of java, listen to some Brubeck on the jukebox, and wait for someone to come in from the chilly street . But the diners in my neighbourhood are either in the middle of the block or close early because of street crime. So I stay home, have a cup of tea, and dream noirish thoughts half asleep on my couch. This is a fine entry into the film noir lexicon.

An honest, family man cop with a wife and daughter is put onto the investigation of another cop's suicide. He closes the case as suicide due to ill health. However when a women tells him another story and is promptly killed, Bannion just investigates further to find that powerful criminals and powerful politicians share the same table at dinner. When his family is split in an attack meant for him he loses his job and becomes bitter – he starts to become more like his enemies as he pursues them.

This is a hardboiled thriller that would still stand up today as a tough film – violence and attitudes that make it feel more modern than it is. The story follows the descent of family man Bannion into violence and bitterness when he not only loses what is important to him, but when he finds that corruption at high levels has fed down into rank and file officers causing him to stand out when he tries to catch a criminal.

The brutality of this film shouldn't be underestimated – Fritz Lang is no softy! Here we have women beaten and killed, we have sex crimes, we have a women disfigured by scalding coffee in her face. Of course all these things are unseen but this was the 50's! However it is still powerful and adds to the intensity of the film. The story may well have been done many times now – but imagine seeing something like this back then!

The cast are great. Ford descends into bitterness really well and seems at ease as both thug and family man. The female cast are good in different ways but the one that catches the eye is a young Lee Marvin. I suspect Marvin got fame because his coffee attack stuck in people's minds – even today he is best know as a tough guy in the movies.

Overall this is well worth hunting out – it is still being copied by many video thrillers and it just goes to show that you don't have to show gory or graphic violence on screen to be powerful, gritty or shocking.

A violent story about a detective working in a corrupt department who investigates the apparent suicide of a fellow officer. Worth seeing for Glenn Ford's prototypical performance and Gloria Grahme's show stealing portrayal of a boozing moll with a conscience. With facial disfigurement and cigarette burns it took violence up a notch from the standard gun play of the past, making it grimmer and more realistic, and giving the story more punch. Grahme's tough and tender role stands out and gives the film a tragic element, while certain of its portrayals of greed and corruption (namely the dead officer's wife) stand out for their attention to detail. In the end, it IS the details that give this formulaic story its clout, and we can thank director Fritz Lang for that.

This is a classic film noir, beautifully directed by Fritz Lang.. Fast paced non stop plot line & action... Glenn Ford is the good guy with some shades of gray/ Lee Marvin is the bad guy and boy is he bad ; roughs up 2 women/ Carolyn Jones at the bar, slams her hand/ and poor Gloria Grahame/ throws hot boiling coffee in her gorgeous face.. This is a very sadistic scene, and very memorable!!Gloria plays her part to the hilt.. one of her greatest screen moments...She made several film noire movies, In A Lonely Place/ Naked Alibi etc. won her Oscar for a serio comedy role in The Bad & The Beautiful/ sang "I Cant Say No" in Oklahoma.. and was almost crushed by an elephant in The Greatest Show On Earth.. she had a great career... and will always be my favorite 50's bombshell...this film is not to be missed/ Great support by Alex. Scourby, Jeanette Nolan and others.. not to be missed !

It's doubtful that even Dirty Harry in his most menacing moments could match the smouldering rage that Glenn Ford brings to the screen in this excellent 1953 Fritz Lang flick. From a modern POV there is nothing unfamiliar here, except maybe the dated hardboiled lingo. The maverick cop, the revenge theme, the underworld characters and heroines. It's just that whereas a modern director would make this into a predictable two hour yawn-fest with slow-motion car accidents and ten minute shootouts with shoulder-launched missiles, Lang's movie clocks in at under 90 minutes, and there isn't an ounce of fat on it. It's lean, fast-moving and engrossing. Not a single camera shot is wasted or unnecessary. The script crackles, the cast is uniformly excellent, and Ford and Lee Marvin in particular are unforgettably intense. Ford, just when he's about to go way over the top, reins himself in, adding to the aura of barely suppressed violence in his character.

The movie can also lurch from plot exposition to sudden, economical and unexpected explosions of violence which can still shock today and must have been extremely confronting fifty years ago. And from there it can become suddenly, unexpectedly sensitive and moving.

Nothing is wasted in this movie. Everything is nailed down just right. It's not that they don't make them like this any more; it's more that they've been making them like this ever since, and generally to lesser and lesser effect.

A strong 8 out of 10.