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.

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.

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.