Michael O'Keefe Robert Stevens directs this crime drama; almost the perfect crime. Frank Harper(Rory Calhoun), a con man down on his luck and flat broke, goes to a long time crime boss named Flood(James Gregory)to ask for set up money for the perfect crime. It takes some convincing, but Frank knows for sure that a small-town bank regularly has the near by Marine base's payroll deposited. Flood figures that if he sends his girlfriend Kay(Mary Costa)with Harper to set up house as a new couple to the community they could prepare for the caper without suspicion. Calhoun comes across real cool. Costa is convincing as a pretty woman that needs affection and the chance for a real life. Planning out the heist is interesting. Other players include: Robert Harris, Paul Picerni, Roxanne Arlen and Ray Teal.

secondtake The Big Caper (1957)Fabulous. Here's where having unknown talent and a plot about ordinary folk really gels into something genuine, without glitz and without the high production values that are terrific in the best crime noirs but are also so slick they become something more and also less. "The Big Caper" obviously has aspirations, beginning with the title (one of the great "Big xxx" films like "The Big Heat" and "The Big Combo" and "The Big Sleep"). And it doesn't let up, or let down.By the end this is a heist film through and through, but the curious part is the core central part where a couple, with criminal intentions, sets up a normal seeming life in a small and unsuspecting town. But the woman of this pair is married to another man, who happens to be the mastermind of the whole affair. Things go wonderfully right for awhile, and romance blossoms as well as a clever and huge (and simple) robbery. But of course things also go wrong.All of this is unfolded in an idealized American town, and that's part of the fun. When some of the smaller characters in the crime arrive, they are glaringly out of place. I smelled hints of sexual weirdness (including some possible S&M stuff with a strange blonde guy) and of course there's the conflict between the two leading men and the leading woman. Like Kubrick's "The Killing," a nearly contemporary heist film, this isn't about getting caught at all, but just about the inside workings of some small time thugs with a very big and bad dream. If Kubrick's film is better technically, and has some acting that rises above (several key players are terrific), this one rises up on its quieter simplicity, and on some very solid and less sensational acting.And on a great job pulling it together. Robert Stevens did mostly television, including a whole series for Alfred Hitchcock t.v., and among his handful of feature films this is probably the best. Nicely filmed with lots of convincing (and real) night stuff, and edited tightly, it never flags. If the ending is a little too sweet, remember this isn't Kubrick after all. But good stuff.

BILLYBOY-10 This is a 1.5 hour train wreck. Scene one we know RC (star Rory Calhoun) is determined to rob a bank so we immediately know happily ever after ain't gonna happen. He enlists an old ex-con pal to plan the caper.Normally you would blow into town unknown, pull off the job and split but instead RC buys a gas station and a house, befriends the the community, joins the Country Club to get everyone to know an love him and his fake wife for six months and THEN pull off the bank job and stick around for another month and then split town. Brilliant plan, right? I don't see it that way myself but his old pal is a criminal master mind so what do I know? Half the flick revolves around the fake life of our fake schmaltzy couple until the various characters involved in the caper show up in town to plan and carry out the caper....and boy, do I mean Characters with a capital "C". First the pyromaniac gin addicted torch man, the spooky masochistic body builder looney toon, a floozy dame whose name is Doll, the businesslike safe cracker and a harmless watch-out. As this gang of idiots play out the train wreck really takes place and naturally ends in the inevitable pile up with our rehabilitated fake couple promising to hook up no matter what. The End. Nice old DeSoto's tho.

noir guy Adapted, like Stanley Kubrick's more celebrated 1956 crime movie THE KILLING, from a novel by underrated thriller writer Lionel White, THE BIG CAPER is an economical, pacy minor 50s crime movie which, unfortunately, somewhat loses its grip and falls away on the home strait to deliver less than it initially promises. Trapped in an ever-increasing spiral of gambling losses, Frank (Rory Calhoun, taking a welcome break from the saddle) sells his now semi-respectable gangster boss Flood (James Gregory) the idea of bankrolling a 'big caper'. The sleepy Californian coastal town of San Felipe is home to a bank which holds the substantial payroll for a nearby army base, and appears just ripe for the pickings for a team of professional hoods. Flood stakes the plan, and, after buying up the local gas station (an ideal stakeout locale for the bank located across the street), Frank sets up home with Flood's moll Kay (Mary Costa), aiming to win the trust of the local populace based on a seemingly legitimate veneer of domestic normality. Biding their time, Frank and Kay ingratiate themselves with the local 'square' population as they await the arrival of Flood's specialist team. But when this outfit includes an alcoholic pyromaniac, an inveterate womaniser, a psychotically loyal bodyguard and a kingpin who is beginning, rightfully, to suspect that his girl wants out from her previous lifestyle, the seemingly perfect caper begins to look fatally flawed. Swift and punchy, and betraying the best of its paperback origins in swift, sharp characterisation and abrupt narrative gear changes, this benefits from a nicely embittered change-of-pace lead performance from Calhoun (who, in forsaking his cowboy boots and spurs here, suggests he would have made an effectively downbeat noir actor) and a surprising sense of well-oiled coiled-spring menace from the underrated Gregory. Although a tad schematic in its paralleling of the Eisenhower-era nuclear family with Flood's dysfunctional criminal one, and running out of steam on the way to a regrettably contrived ending which involves a Damascene conversion which doesn't quite convince (a more cynical remake would probably put that right, though), this is a diverting slice of 50s criminality which seems, like much of the quirky crime roster from this period, to have slipped off the generic radar in recent years. Worth a look, even if it can't hold a candle to Kubrick's more celebrated Lionel White adaptation from the same period.