Armored Car Robbery

Robert Fleischer's film Armored Car Robbery is, in many aspects, a straightforward heist movie. It features all of the usual suspects, including a bunch of ragtag tough guys, a heartless dame who only cares about the promise of lots of 'lettuce', and a lantern jawed, square shouldered cop who deep down really cares about his partner. These caricatures are expected and well played; what was a surprise was how well William Talman filled a role a less skilled performer might have slept through. Talman, who played the leader of the gang, infused his character with a flinty, almost sociopathic nature that plays as believable and chilling. Additionally, the movie had great momentum, one that moved a somewhat predicable plot forward at a gripping and exciting pace.

All of the actors gave good to excellent performances, though Charles McGraw's character was a smidge too one dimensional at times, as he spoke his clipped sentences through gritted teeth and wore the heroic big suit like a comic book lieutenant. Still, an enjoyable heist film that won't disappoint fans of the crime or noir genres. Some lovely visuals as well!

Great B-movie cast with many nice touches. Everybody's favorite 50's psycho William Talman heads the heist gang, looking almost suave and sleek at times. He even gets to kiss the girl, probably the only time in his career. Too bad he turned legit on the old Perry Mason show. That fine utility actor Steve Brodie has some good moments too, along with a sneering Douglas Fowley and a blue-collar Gene Evans. And, oh yes, mustn't forget the great cheap blonde of the era, Adele Jergens, all decked out in her best Victoria's Secret finery. Her strip show may be on the tame side, but we get the idea. And in dogged police pursuit, the ever-forceful Charles McGraw who could play either side of the legal fence with jut-jawed persuasion. There's a thousand slices of A-grade thick ear wrapped up in this hard-boiled assembly.

Then too, director Fleischer makes all the deft moves-- the balky car, the gruesome corpse. Maybe somebody forgot the utility bill, but there's a real change of mood half-way through, when the screen shifts from high-key daylight to low-key noir as the shadows and bodies pile up. Yeah, you've probably seen it all before, but rarely done this well and with an Oscar night of B-movie all-stars. Too bad, Stanley Kubrick didn't acknowledge this modest programmer when he lifted the caper film to artistic heights in The Killing (1956). As he learned, prop washes make a superb visual blender for loose dollar bills, along with a lasting note of dramatic irony. Acknowledged or not, this little potboiler has all the earmarks of RKO's golden age of take-no-prisoners noir.

Having just watched Spike Lee's Inside Man recently, it occurred to me that the caper/heist genre movie has gradually become so familiar that even the twistiest of plots seems predictable and ordinary. With this in mind I stepped back about 50 years to this entry in the genre that is almost a documentary by way of comparison to recent films. Instead of building to twists and revelations, this film takes a much straighter line and plays up the noir aspects of the film to deliver a solid b movie that is lacking in fireworks but not any less satisfying for it.

Apparently this film caused a bit of a stir at the time of release as it was criticised for being too "instructional" in regards planning a job and also police procedure in the investigation. This is maybe pushing it a bit far but certainly it is played pretty straight throughout and by doing so seems to work well as just a tough crime story. The tough part is key because, although the basic story is solid, the film is sold on the atmosphere as painted by the script, the direction and the performances. The film is set in the grey world of noir where the criminals are hard but the cops seem to be driven by bitterness and revenge just as much as a desire to do the right thing. This gives the film a nice dark edge that fits the material well and although it lacks flair, the straight-shooting approach works well.

The direction is good and Fleischer is confident within the smoky confines of interview rooms, nightclubs and hideouts. The script is not a classic but it does provide some memorable lines and has a tough edge that the cast take to. Talman is suitably sharp and dark as the gang leader, convincing in his infatuation with Yvonne just as he is betraying his gang. McGraw is more obvious but no less enjoyable in the role of the bitter, driven detective after the gang. Jergens is a bit too, well, round to totally convincing as the scheming showgirl but she did well enough to carry her scenes. Support from Fowley, McGuire and others round out the b movie cast but their performances all suit the material and the genre.

Overall then this runs the risk of coming over a bit dull to those that are used to their "heist gone wrong" movies with more violence and more twists but this relatively by-the-numbers film still works well. The material is enjoyable and the solid script is well delivered with a tough edge by director and cast.

Director Richard Fleischer was responsible for two of the best of the low-budget '50s cops-n-robbers flicks, both notable for starring Charles McGraw, one of the great movie bad guys, as a tough detective. One, "The Narrow Margin," is quite well known; this is the other one, and while not as well known, it certainly should be. The story is about a vicious gang of robbers, headed by a murderous psychopath (William Talman, who seemed to have a corner on that market in the '50s), pulls off an armored car robbery that goes awry. Detective McGraw is out to track down the gang. The film is a textbook example of the best of the B movie--swiftly paced, tightly edited, with a good story and a cast of veteran character actors that work together like a well-oiled machine. Some clever plot twists and startling (for the time) violence make this one a keeper. Very highly recommended.

Wow, this was a neat little film, far better than I had hoped. I don't tape many shows on TV, but this was one I'm sure glad I did, especially since it is not available on VHS or DVD.

I say "little" film because it's only 67 minutes long. Richard Fleischer, who directed THE NARROW MARGIN (1952), another short and fast-moving crime story, directed this movie, too, and you can see some similarities. The major similarity is how fast-paced these films are. Another is the presence of one of the best 'B' tough guys ever: Charles McGraw.

Because of that, and it's so interesting to view, it's one I plan on viewing a number of times. McGraw, as the cop, and William Talman, as the leader of the gang, are fun to watch.

It's a heist tale and most of the film is about the gang trying to escape after the robbery and what happens to each one. In that regards, it reminds me a bit of another great film: THE ASPHALT JUNGLE, which also came out at this time. This isn't up to that level, but it's good and highly recommended viewing if you see it listed on TCM, where I saw it.