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Sony/Columbia comes late to the business of boxing classic noirs, but their first foray is a winner. The crisp restorations fairly pop off the screen, and although two titles tower above the other three, every one rates as a must-see. Fritz Lang is represented by perhaps his last great film, and there's a gem from Don Siegel with one of the grabbiest beginnings and most breathtaking action climaxes in thriller history. Phil Karlson, a busy man at Columbia in the '50s, contributes a caper movie set chiefly in Reno, and there's also a creepy, pioneering study of a serial killer, plus a truly offbeat specimen in which minimalist art film and bargain-basement crime movie converge as though the French New Wave were about to roll.
The Big Heat (1953) is second only to Scarlet Street as the most corrosive among Fritz Lang's films: honest cop Glenn Ford, in the process of fighting an entrenched Mob and deep-seated corruption, risks becoming a vengeful monster. The source was a novel by William P. McGivern, turned into a steel-trap script by Sydney Boehm. Still, it's director Lang's implacable vision, in terms of both camera and awesome moral symmetry, that makes this American crime story kin to Die Nibelungen. And yes, this is the movie with Lee Marvin as a mobster, Gloria Grahame as his sassy moll, and a legendary interaction involving scalding-hot coffee. As James Ellroy exults in his hilariously profane commentary, Don Siegel's The Lineup (1958) "grabs your gonads in the first five minutes"--actually, a whirlwind first minute-and-three-seconds involving the theft of something from a ship just docked in San Francisco harbor and two abrupt deaths. The pressure eases for a while as The Lineup fulfills its obligation to deliver, in effect, an episode of the police-procedural TV series of the same name. The real Siegel movie resumes as a team of hit men arrive in town to do a day's work. Eli Wallach, in his second big-screen role, is brilliant as Dancer the trigger man, described by his handler Julian (the excellent Robert Keith) as "a wonderfully pure pathological study, a psychopath with no inhibitions." One goose flesh-raising scene follows another until the action peaks at Sutro's museum-cum-skating gallery, a multitiered setting Siegel exploits for maximum tension. The end, right? No, just the launch pad for the finale, the most kinetic car chase the movies have ever done (Bullitt and The French Connection notwithstanding). Shooting on locations all over the City by the Bay, veteran cameraman Hal Mohr rises to every challenge, no sweat. Phil Karlson's 5 Against the House (1955) was the first screenwriting credit for Stirling Silliphant (who also worked on The Lineup), and the aggressively quippy dialogue gets on one's nerves. The premise is a good one, though. Four overage college students--two of them Korean War veterans--elect to spend their holiday break robbing Harold's casino in Reno. The idea is simply to "be first at something"; no one will get hurt and the money will be returned. Except
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