Le cambrioleur

My Dad, William G. Wilson (not sure if you list him as Bob) filmed many of the shots in the Burglar. I remember seeing it with my folks. Dad also had the bit part as the TV director who says "You're On..." to newscaster John Facenda. Facenda, a Philadelphia legend, is best known as the voice of NFL Films which was born in Philadelphia. Strangely, Lou Kellman created TeleSports Digest which covered college and pro football (as well as other sports) before NFL Films. It's sad when when one searches for this film you get Whoopie's title. This film is fun to watch and my VHS is almost dead. Would appreciate hearing from anyone who knows where to get a legit copy. Thanks Bill Wilson

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.

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.

A showy medium has a set of fancy jewels. Dan Duryea, THE BURGLAR, intends to steal them with the help of gang member Jayne Mansfield. Will the stresses and strains of the criminal lifestyle wreck their lives, or will the gang finally make the big score that will let them all retire?

This is one of those movies, following in the wake of the Asphalt Jungle, that shows how the tiny character flaws of the criminals involved in a caper all work to mess up their enterprise. If you like the genre, you'll like this. If you are not a noir/crime movie enthusiast, you might determine that all this seems pretty derivative from better movies. The director has definitely seen his Orson Welles movies (Citizen Kane and Lady from Shanghai are sampled here), but he only has a B-movie plot to drive the action. Later in the movie, this becomes a problem when the mechanics of inevitable doom require Duryea to show an implausible lack of judgment.

Nevertheless, Dan Duryea, who plays his role without an ounce of his usual scuzzy smarm, responds quite well to being cast somewhat against type. Jayne Mansfield, who had not yet developed her inflatable sex doll persona (this movie was shot well before Will Success Spoil Rock Hunter?), does well with a fairly nuanced part that makes use of her looks, but does not require her to be either stupid or sleazy. The movie, when not being overly showy with its visuals, gets in some great location shooting in both Philadlphia and Atlantic City.

This is worth seeing, if you like crime movies. But you will get the feeling there was a lot of potential that went unfulfilled here.

The Burglar is directed by Paul Wendkos and adapted to screenplay by David Goodis from his own novel of the same name. It stars Dan Duryea, Jayne Mansfield, Martha Vickers, Peter Capell, Micky Shaughnessy and Stewart Bradley. Music is by Sol Kaplan and cinematography by Don Malkames.

Nat Harbin (Dan Duryea) is the leader of a small gang of crooks who burgle a necklace from the home of a famous spiritualist. One of Nat's gang is Gladden (Mansfield), the daughter of the man who took Nat under his wing when Nat was an orphan. In return Nat has always looked after Gladden. But once the necklace is in their hands, the group begins to come apart, and with outside forces muscling their way in, it's probably not going to end well…

It sat on the shelf for two years, where no buyer could be found, but then Jayne Mansfield became one of the "it" girls and The Burglar saw the light of day. Long out of circulation it became a film that noir enthusiasts greatly courted over the years, but now it's widely available was it worth the wait?

Well it has proved to be a very divisive entry in the film noir universe. Undoubtedly it has style to burn, director Wendkos has observed some of his film noir peers and dripped their influences all over his movie; and not in a subtle way either. Sweaty close-ups, shock cutting, oblique angled frames and shadow adorned sequences attempt to put oomph in the narrative, while the newsreel opening and amusement park finale scream out that the film wants to be loved by the noir crowd.

It's all very neatly constructed, and with Kaplan's bold brassy score laid over the top, it deserves its noir badge. But it does feel like art for arts sake at times, like Wendkos is working over time visually to compensate for a weak screenplay. It becomes evident that it wasn't a great idea to let Goodis adapt from his own novel, it needed a screenplay writer capable of putting more emotional carnage into the characterisations.

There is no flow to the story and the actors often look lost and not sure where to take the source material to. Even the ever reliable noir hero Duryea is straining to make his character work, a victim of extraneous nonsense that doesn't seem to serve any purpose to plotting. Mansfield's performance is one of the hot topic divisive points, but I don't see how, it's awkward and her limitations as an actress are evident, no matter how foxy she looks. While Stewart Bradley in a key role just flat out can't act, something that draws some of the sting from the finale.

The visual smarts and some nice location photography in Philly and Atlantic City ensure it's not a dead loss, while if you prepare yourself for a character study rather than a pulpy noir pot-boiler then that sets expectation levels correctly. But it's not one to recommend with confidence; even if Marty Scorsese is a fan! 5/10