The Burglar

Let's break this film into 3 scenes: the intro and robbery – good. The ending – good. The wordy bit in the middle – awful.

There is a reasonable (not brilliant) story in there and the cast make a good fist of that but the overly emotional scenes which bind the story together just don't work. That the score is overpowering doesn't help.

But this film could have been so much better if it was tightened up. There are some decent jazz rhythms humming away in the background which could have been worked on and the dramatisation I refer to in the middle could also have been better arranged.

On the plus side, the seedy setting suits the film and I appreciate the straightforward action – no need for choreographed martial arts when a few decent punches (carefully played in the background) do the job.

I wouldn't go out of my way to watch this film again but...if you have 90 minutes to kill it is worth persevering with.

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

I saw this film a long time ago and was tremendously impressed, almost hynotized, by its technique. It was directed by Paul Wendkos, who's since gone on to a successful career in television, but who was for a while considered an up and coming director of movies. The stars, Dan Duryea and Jayne Mansfield, never quite achieved the kind of success many had envisioned for them. Duryea's career was sidetracked by Richard Widmark, and Mansfield never replaced Marilyn Monroe. Part of the charm of this film is watching small timers play small timers in a small movie that didn't cost a lot of money and which few people saw or want to see because no one connected with it is famous (though Jayne has her fans I guess). To make matters worse, the film is arty, full of offbeat camera angles and strange lighting that sometimes makes people look startled, as if they're continually having their picture taken. It's a tawdry tale about little people with big problems, and it works. For all I know it could be a work of art. The story is mostly about a jewel robbery, but it's also about the strange, almost incestuous relationship between Dan and Jayne, which both does and doesn't have a whole lot to do with jewels. There is a very bad guy involved who comes across like a young Senator Joe McCarthy. There are scenes in an amusement park; and more scenes in an empty stadium. I'm not sure why. The films is dazzling and ambitious and pretentious, so much so that it's beyond mere film noir as such; it's more like art noir.

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.