Sorry, this movie sucks

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

THE BIG STEAL is a rip-roaring crime adventure yarn which sees the dogged army lieutenant Robert Mitchum travelling through Mexico where he's hot on the trail of a robber escaping with a stash of loot. Along the way, Mitchum teams up with the fraudster's fiancé, and is pursued by an army captain who thinks he's the real robber.That's the plot in a nutshell, and the film ends up writing itself thanks to the action-laden premise. And THE BIG STEAL offers massive entertainment value indeed, not least to the direction of Don Siegel, working early on in his career and bringing the same verve and vitality to this as he would to the likes of INVASION OF THE BODY SNATCHERS and DIRTY HARRY.Mitchum is on top form as the likable lead and he's given great support by the alluring Jane Greer and the increasingly exasperated William Bendix. The structure of the narrative allows for plenty of near escapes and car chases, along with two-fisted fight scenes and some light comedy and romance thrown into the mix. It's one of those films with a little bit of everything and I found myself really enjoying it.

Robert Mitchum (Duke Halliday) is chasing Patric Knowles (Fiske) who stole an army payroll of $300,000.00 from him. In turn, William Bendix (Captain Blake) is hot on the heels of Mitchum whom he believes has taken off with the money himself. Knowles has also stolen $2,000.00 from girlfriend Jane Greer (Joan) who has caught up with him and wants her money back. Everyone arrives in Mexico and the chase is on.This film is basically one long car chase and the cast all play their parts just fine. Mitchum was arrested in a drugs bust and spent some time in jail during this film and so it's understandable that he wants to get his hands back on the loot so that he can make a nice investment in some Mexican marijuana.The version that I watched was, alarmingly, a colourized version. This was simple enough to fix, ie, just turn the colour right down on the TV, but that is not the point. Film-making in black and white is a completely different process in terms of lighting consideration, materials and textures used to provide an effective contrast between different shades of grey, how to make things sparkle, etc. For someone to come along and start colouring in these black and white films is utterly moronic, illustrates a complete lack of understanding of how the medium of film works, and annoys the viewer.Unfortunately, there is just not a lot going on in this film. Everyone meets up in the end and the film pans out exactly as you would expect it to. In fact, the role of William Bendix makes little sense once you get to the end of the film. Whilst the film is OK to pass the time, I've no idea why such a distinguished cast bothered with it. It did have one purpose though - it must have inspired ABBA to write their hit song "Chiquitita".

The Big Steal (1949)You can't go totally wrong with Robet Mitchum, and he is with Jane Greer, who was his sometimes girlfriend in Jacques Tourneur's fabulous Out of the Past (1947). This fast, chase chase chase movie is a lot of fun, and it careens through Mexico in a slightly insensitive but slightly exotic way. Slightly. It sometimes seems like a quickie movie, for sure, but hey, this is about a love affair trying to bud amidst the chaos of crime, and there's nothing wrong with that. And one very nice thing is the Spanish is clean and honest. Even Greer's Spanish is very good, and there is no pandering to the audience too much (no subtitles, and when it switches to English it's natural).Director Don Siegel has two legendary movies to his name, which is more than many greater directors can say: Dirty Harry (1971) and Invasion of the Body Snatchers (1956), as well as the highly regarded The Shootist (1976). I say all this partly to show he's got something special happening, and even a flawed effort like The Big Steal is going to have things to love, and to watch for.So what to watch for? For one, even more that Mitchum who is always likable and convincing, is Greer. She brings a confident, brave, not quite hardened edge to her character and it's bracing. She never coys it up, never becomes the femme fatale of more stereotypical films. Mithcum is a good match for her, and as the race through the landscape, we get a continuation of the chemistry they started in Tourneur's film (which was set in California). William Bendix is always a treat, even if a little bit easy to caricature, and he is cardboard here, for sure. But what the heck, he's just the one chasing, and if he become too interesting the film would start to look like fine art, which it isn't. In fact, if there is one thing that Siegel avoids it's high minded goals. He has something more pithy and immediate in mind, and gets it, and gets you, in the gut, and with an exhilaration that's really fine, really well done, not a cheap thrill at all.

"Out of the Past" leads Robert Mitchum and Jane Greer team up again in director Don Siegel's fast-paced, lightweight, romantic crime thriller "The Big Steal." Although "Crime by Night" scribe Daniel Mainwaring and "Dead Reckoning" writer Gerald Drayson Adams have penned a fairly conventional actioneer, the narrative exposes one vast difference between Americans and Mexicans. Americans work up a lather getting to where they are going, while the Hispanic populace takes it easy. Several times our fast and furious American protagonists find themselves being slowed down by the Hispanics who appear in no particular hurry to get things done. Not only does Siegel snap up the suspense, but he also turns this frenzied chase into a scenic travelogue.The hero and heroine rampage from the port of Vera Cruz through sun-drenched Mexico after an elusive as well as larcenous criminal. Jim Fiske (Patric Knowles of "Frankenstein Meets the Wolfman") owes Joan Graham (Greer) the sum of $2-thousand that she loaned to him. She has followed him below the border to retrieve her money. They were apparently going to get married. Meanwhile, it seems that Fiske has waylaid an Army Lieutenant, Duke Halliday (Robert Mitchum) who was picking up a $300-thousand Army payroll to take back to the base. As the finance officer, Halliday was responsible for the loot. When he explains that Fiske robbed him, Captain Blake suspects Halliday put Fiske up to the robbery. Halliday goes AWOL to recover the loot and finds Captain Vincent Blake (tough guy William Bendix of "Guadalcanal Diary") in hot pursuit, too. The fight that Blake and Halliday get into at the outset of the action is pretty rough. Siegel appears to have accelerated the film so that Halliday's elbow blow against the unsuspecting Blake stuns the captain.This nifty but notorious little B-picture went into production about the same time that Robert Mitchum was arrested for smoking marihuana. A large amount of action occurs on the roads as the characters careen through towns. Eventually, a sly Mexican police officer, Inspector General Ortega (Ramon Novarro of "Ben-Hur: A Tale of the Christ"), who is brushing up on his English, takes an interest in the activities of these Americans and has them shadowed. He intervenes at one point and everybody lingers at a hotel. Basically, "The Big Steal" unfolds like a game of cat and mouse. Fiske cleverly eludes Halliday and Graham while they elude a determined Blake. Blake goes to Inspector General Ortega and tells him that he has lost his credentials; specifically extradition papers to take Halliday back into custody and return him to America. Fiske literally erects roadblocks for our hero and heroine and they do likewise to Blake. At one point, Halliday loosens a flock of goats to block the road. A rather lengthy scene finds Halliday and Joan stalled on a remote road where a bridge is being torn up. The Mexican official is initially reluctant to help them. Furthermore, they cannot turn around and retrace their path because Blake breathing down their collective necks. Joan explains to the road superintendent that they are eloping, and her father doesn't like Halliday. She explains that her father wants her to marry "a short ugly man" and she prefers "a big pretty" man. Joan's lie prompts the road superintendent to create a momentary way through the construction so they can continue onto the highway.The action concludes with a brief wilderness shoot-out. A guy named Cole armed with a revolver and a rifleman named Jose ambush Duke and Joan as they approach Seton hacienda. This Seton is the same Julius Seton that Joan encountered earlier in the plot. She almost destroyed a priceless artifact by distracting Seton's assistant. Now, in the fourth quarter, Seton reappears. We learn that he is a fence as well as a collector of priceless artifacts. Seton is paying Fiske $150-thousand for the hot $300-thousand. Duke kills Jose, but Cole gets the drop on both Duke and Joan. Cole brings Duke and Joan to Seton. Moments later Blake bursts in with his gun drawn. Fiske explains the deal about the $150-thousand and Blake agrees to split it with Fiske. As Fiske is leaving, Blake guns him down. Afterward, Blake assures Joan, "You can't trust a guy like that." Blake phones Inspector General Ortega that he was bringing Duke in for Ortega to arrest. Unfortunately, he adds, Duke tried to escape and he had to kill him. A fight erupts with Duke and Blake tangling again while Joan scuffles with Seton over a priceless artifact. Interestingly, their first encounter led to his assistant nearly dropping a priceless artifact. Seton doesn't fare so well in the second encounter that begins with Joan smashing a priceless artifact. Joan wounds Seton and Duke triumphs over Blake. The big revelation is that Blake and Fiske were accomplices. The picture wraps up with the leads observing mating ceremonies and then children parade pass them as if to suggest that procreation after marriage is the suitable thing to do.Siegel does a nice job of helming this mayhem. Rarely does the pace slacken and the characters convey exposition about their predicaments without pausing the action. Interesting enough, Siegel likes to show the shadow of two characters on the wall before he reveals their identities. When Blake approaches Halliday's state room aboard the ship, we see his shadow on the wall before we see him. Later, after Fiske leaves his hotel room with Joan in the shower, he heads down on hall while we see the shadow of Halliday approaching Fiske's door.