Heist film

Summary

The heist film or caper film is a subgenre of crime film, consisting of films that focus on the planning, execution and aftermath of a large robbery.

One of the early defining heist films was The Asphalt Jungle (1950), which Film Genre 2000 wrote "almost single-handedly popularized the genre for mainstream cinema". It featured robbers whose personal failings ultimately led to the failure of their robbery. Similar films using this formula were Armored Car Robbery (1950), The Killing (1956), and The Getaway (1972). By the 1990s, heist films "experiment and play with these conventions" incorporating things like comedy into heist stories.

Characteristics of the genre

While there is sometimes some confusion as to what counts as a heist film there are a set of characteristics that most films in the genre follow.

The most basic of these is that films in the genre tend to follow the planning, execution and aftermath of one large robbery.[1] While there can be smaller crimes leading up to the major crime, this major crime is the centerpiece of the film and is the event which informs much of the film's plot.[2] As a result of this, heist films tend to focus on the process of the heist, often showing how the criminals plan the heist in great detail. They also tend to devote a large portion of the runtime to the heist itself, giving the viewer a detailed look of how the criminals complete the heist.

The sub genre is also distinct for almost exclusively following the people who are committing the crime rather than following the people trying to stop the criminals.[3] This often leads to the viewer building some form of sympathy or respect for the criminals.[3] Another common characteristic of the heist film is the assembling of a team to complete the heist.[3] Each team member often has some unique skill or set of skills which are needed to complete the heist.[3]

Over time filmmakers have taken these characteristics and changed them to create interesting plays on the genre. For example Reservoir Dogs (1992) skips the planning and execution of the heist instead choosing to focus exclusively on the aftermath. Another example of this is The Italian Job (1969) which shows the planning and execution of the heist but doesn't fully show the aftermath.

While those characteristics stand as the defining characteristics of the genre there are a couple tropes and trends which frequently appear throughout the genre. One such trend is the failure of the heist due to some failing of the criminals involved in the heist. These failings range from one of the criminals in the heist getting injured during the heist to one of the criminals betraying the others during or after the heist.[4] This trend started as a result of the initial films in the genre being made in Hollywood during the Motion Picture Production Code.[5] Under the code criminals were not allowed to get away with crime so the heists in these early movies all fail, establishing it as a trend in the genre. In the years since the code filmmakers have made heist films where the criminals get away,[5] however the trope of failed heists still exists in modern films. One of the most dynamic examples is Reservoir Dogs, which focuses solely on trying to figure out which of their group members betrayed them after a failed heist. Another popular trope is the one last job trope whereby a criminal looking to stop being a criminal enlists the team to do one last heist so they will have money for the rest of their life. This can be seen in early films such as The Asphalt Jungle (1950) as well as more recent films like Heat (1995).

History

While elements of the heist film can be seen in movies as early as The Great Train Robbery (1903), the genre didn't begin until the late 1940s and the early 1950s.[6] The film widely agreed upon as the first film in the genre is John Huston's 1950 film The Asphalt Jungle, starring Sterling Hayden and Sam Jaffee (with Marilyn Monroe in a supporting role).[7] The film contains many of the hallmarks of the genre, the most obvious of which is its following of the planning execution and aftermath of a single heist from the criminal's perspective.[8] It also devotes a large amount of time to the heist itself and involves a group of variously skilled criminals who are brought together to complete the crime. Two earlier films that some consider earlier examples of the genre[7] are Criss Cross (1949) and The Killers (1946). While these films do follow the planning execution and aftermath of a single heist from the criminals perspective, critics argue that they devote too much time to the planning and aftermath of the heist and too little to the actual heist.[7] As a result they are frequently cited as key films in the development of the genre but not the start of the genre itself.[7] All of these films are also notable for having elements which are indebted to the film noir genre. This includes their moody expressionistic black and white cinematography as well as a dark and fatalistic tone key in film noir. As a result scholars such as Daryl Lee refer to this era of heist films as “noir heists”.[6] Anne Billson of the BBC cites Akira Kurosawa's Seven Samurai (1954) as an influence on the "assembling the team" trope that later became a common characteristic of heist films.[9]

The period between 1955 - 1975 is considered by scholars to be the most productive period of the heist genre. This period began with American filmmakers continuing the noir heist trend in films like 5 Against the House (1955) and The Killing (1956). The 50s also saw the release of the first international heist films. One place with a notable output was France which produced a handful of heist films influenced by and responding to the American noir heists. The two most notable films are Rififi (1955) which is known for its detailed 30 minute heist sequence and Bob Le Flambeur (1956) for its playful ending which plays with the conventions of the heist genre.[10] The 50s also marked the beginning of British heist films with the most important ones being The Lavender Hill Mob (1951) and The Lady Killers (1955), Two films who's importance comes from the introduction of comedy to the heist genre, something uncommon for the genre at the time but would become more common in later heist films.[10] Another notable heist film from this period is the Italian film Big Deal on Madonna Street (1958), a parody of the heist genre.[10]

In the 1960s heist stories became more mainstream, creating glossier and higher budget heist films which moved away from the fatalism and darkness present in the earlier noir heists.[10] Two examples of this from the early 60s are the British film The League of Gentleman (1960) and the American film Seven Thieves (1960). Despite having conventional heist plots about gathering together a group to commit a heist, both films balance comedy and drama unlike the darkness of the earlier noir heist films.[10] The mainstream shift as well as a growing cultural interest in travel lead to a wave of glossy heist films involving exotic international locals, such asTopkapi (1964) and How to Steal a Million (1966). In France Rififi spawned a number of lower budget crime films which often used Rififi as part of their title. These include films such as Rififi in Tokyo (1963) and Du rififi à Paname (1966). As the decade continued, the French also began to produce more glossy heist films which served as star vehicles for big stars of the time, such as Any Number Can Win (1963) starring Alain Delon and Greed in the Sun (1964) starring Jean-Paul Belmondo.[10] The most celebrated French heist films of this time where directed by Jean-Pierre Melville whose heist film Le Cercle Rouge (1970) is often regarded as one of the greatest heist movies of all time.[10] This expansion of the genre in the 1960s also led to remakes of older heist movies with an early example being Cairo (1963), which is a remake of The Asphalt Jungle.[11] In 1968, the motion picture production code was abolished, paving the way for a number of heist films that didn't shy away from portraying graphic violence. This included films like Charley Varrick (1973) and The Getaway (1972). Another important 1970s heist film is Sidney Lumet's 1975 film Dog Day Afternoon, which is regarded by some critics as the last important heist film of the genre's most productive era.[10]

The time period between 1975 and the early 1990s are considered a low point for productivity in the heist genre.[10] While there were some films being made in the genre like Thief (1981) and a remake of Big Deal on Madonna Street called Crackers (1984), Critics don't consider these films as meaningful developments of the genre and thus aren't seen as important.[10] The 90s would see the return of the heist genre with a number of films creating new interest in the genre. While films like John Woo's Once a thief (1991) and Steven Soderbergh's Out of Sight (1998) would bring some interest in the genre, the three films which brought the genre back to prominence were Reservoir Dogs (1992), Heat (1995) and The Usual Suspects (1995), all of which were big enough hits that they reintroducing a large audience to the pleasures of the heist genre.

This renewed interest led to a large output of heist films throughout the 2000s. These range from British films like Snatch (2000) and Sexy Beast (2000) to kids films like Fantastic Mr. Fox (2009) to popular Hollywood films like Inside Man (2006) and remakes of heist classics like The Italian Job (2003).[10] Some of the most popular heist films of this era are the remake of Ocean's 11 (2001) and its sequels Oceans 12 (2004) and Oceans 13 (2007). These films were hits on release and are still popular today.

List of notable heist films

Film Year Ref.
11 Harrowhouse 1974 [12]
80 Million 2011 [13]
Armored Car Robbery 1950 [14]
Army of the Dead 2021 [15]
The Asphalt Jungle 1950 [16]
Baby Driver 2017 [17]
Bande à part 1964 [16]
The Bank Job 2008 [17]
Big Deal on Madonna Street 1958 [18]
Blue Collar 1978 [19]
Bob le flambeur 1956 [19]
Bonnie and Clyde 1967 [20]
Bottle Rocket 1996 [17]
Le Cercle Rouge 1970 [16]
Dead Presidents 1995 [21]
Den of Thieves 2018 [22]
Le deuxième souffle 1966 [19]
Dog Day Afternoon 1975 [16]
Entrapment 1999 [23]
Fast Five 2011 [17]
A Fish Called Wanda 1988 [17]
Flawless 2007 [12]
The Getaway 1972 [19]
Going in Style 2017 [24]
Gone in 60 Seconds 2000
Grand Slam 1967 [19]
The Hatton Garden Job 2017 [17]
Heat 1995 [17]
Heist 2001 [25]
Hell or High Water 2016 [26]
Hell's Angels '69 1969 [27]
The Hot Rock 1972 [12]
How to Steal a Million 1966 [19]
Hudson Hawk 1991 [28]
Inception 2010 [16]
Inside Man 2006 [17]
The Italian Job 1969 [17]
The Italian Job 2003 [17]
Jackie Brown 1997 [20]
The Killing 1956 [17]
King of Thieves 2018 [29]
The Lavender Hill Mob 1951 [19]
Lock, Stock and Two Smoking Barrels 1998 [17]
Logan Lucky 2017 [17]
Mankatha 2011 [30] written and directed by Venkat Prabhu.[31]
The Misfits 2021 [32]
Now You See Me 2013 [24]
Now You See Me 2 2016
Ocean's 8 2018 [19]
Ocean's 11 1960 [18]
Ocean's Eleven 2001 [16]
Ocean's Twelve 2004 [19]
Ocean's Thirteen 2007 [33]
Out of Sight 1998 [20]
Point Break 1991 [17]
Quick Change 1990 [20]
Reservoir Dogs 1992 [16]
Rififi 1955 [16]
Ronin 1998 [20]
The Score 2001 [34]
Set It Off 1996 [17]
Sexy Beast 2000 [16]
Snatch 2000 [17]
Sneakers 1992 [35]
The Split 1968 [36]
The Sting 1973 [17]
Thief 1981 [16]
The Thomas Crown Affair 1968 [17]
The Thomas Crown Affair 1999 [17]
Three Kings 1999 [20]
Topkapi 1964 [18]
The Town 2010 [17]
The Usual Suspects 1995 [17]
Vinci 2004 [13]
Widows 2018 [16]
Wrath of Man 2021 [37]

References

  1. ^ "One last big job: How heist movies tell their stories". Observations on film art. Retrieved October 21, 2021.
  2. ^ "One last big job: How heist movies tell their stories". Observations on film art. Retrieved October 21, 2021.
  3. ^ a b c d Kaminsky, Stuart (1974). American film genres: approaches to a critical theory of popular film. Dayton Ohio: Pflaum Pub. pp. 74–97. ISBN 0827802781.
  4. ^ Perno, G. S. (August 9, 2015). "10 Ways That Heists in Movies Usually Go Wrong". Cinelinx | Movies. Games. Geek Culture. Retrieved October 21, 2021.
  5. ^ a b Hardy, Phil (1997). he BFI Companion to Crime. A & C Black. pp. 70–71. ISBN 9780304332151.
  6. ^ a b Lee, Daryl (December 31, 2014). "The Heist Film". doi:10.7312/lee-16969. Cite journal requires |journal= (help)
  7. ^ a b c d "One last big job: How heist movies tell their stories". Observations on film art. Retrieved October 21, 2021.
  8. ^ Kaminsky, Stuart (1974). American film genres: approaches to a critical theory of popular film. Dayton Ohio: Pflaum Pub. pp. 74–97. ISBN 0827802781.
  9. ^ Billson, Anne (October 30, 2018). "Why is Seven Samurai so good?". BBC Culture. BBC. Retrieved May 31, 2020.
  10. ^ a b c d e f g h i j k Lee, Daryl (December 31, 2014). "The Heist Film". doi:10.7312/lee-16969. Cite journal requires |journal= (help)
  11. ^ "One last big job: How heist movies tell their stories". Observations on film art. Retrieved October 21, 2021.
  12. ^ a b c Hunter, Rob (September 6, 2018). "The Best Diamond Heist Movies You've Never Seen". /Film. Retrieved February 20, 2019.
  13. ^ a b Haltof, Marek (2015). Historical Dictionary of Polish Cinema. Rowman & Littlefield. pp. 127, 148, 253. ISBN 978-1-4422-4472-6.
  14. ^ Wilson, Ron (2000). "The Left-Handed Form of Human Endeavour". In Dixon, Wheeler W. (ed.). Film Genre 2000: New Critical Essays. SUNY Press. pp. 154–155. ISBN 978-0-7914-4513-6.
  15. ^ Truitt, Brian (May 20, 2021). "'Like Braveheart but flipped': Zack Snyder evolves zombies in a big way for 'Army of the Dead'". USA Today. Retrieved May 25, 2021.
  16. ^ a b c d e f g h i j k Morris, Brogan (September 14, 2018). "10 great heist films". bfi.org.uk. British Film Institute. Retrieved October 30, 2018.
  17. ^ a b c d e f g h i j k l m n o p q r s t u Dockterman, Eliana (August 18, 2017). "The 25 Best Heist Movies". Time. Retrieved October 30, 2018.
  18. ^ a b c Axmaker, Sean (April 9, 2020). "Art of the steal: Here are some great heist/caper films to stream". Seattle Times. Retrieved June 6, 2020.
  19. ^ a b c d e f g h i Staff, Playlist (September 10, 2010). "25 All-Time Favorite Heist Movies". IndieWire. Retrieved February 20, 2019.
  20. ^ a b c d e f Leitch, Will; Gierson, Tim (June 7, 2018). "The 25 Best Heist Movies of All Time". Vulture. Retrieved May 29, 2020.
  21. ^ Burlingame, Russ (July 17, 2015). "Ant-Man's Most Overlooked Cameo: Ant-Man Himself". Comicbook.com. Archived from the original on July 20, 2015. Retrieved July 18, 2015.
  22. ^ Gleiberman, Owen (January 18, 2018). "Film Review: 'Den of Thieves'". Retrieved September 1, 2020.
  23. ^ Maslin, Janet (April 30, 1999). "Film Review; They're a Devilish Match, But Who's Conning Whom?". The New York Times. Retrieved December 16, 2020.
  24. ^ a b Robey, Tim (March 23, 2017). "The timeless appeal of the heist movie". The Telegraph. Archived from the original on January 12, 2022. Retrieved April 15, 2020.
  25. ^ "Here's one we saw earlier". the Guardian. November 25, 2001. Retrieved October 12, 2020.
  26. ^ Klimek, Chris (August 11, 2016). "'Hell Or High Water' Is A Smart, Substantive Heist Film". npr.org. NPR. Retrieved May 29, 2020.
  27. ^ "Hell's Angels '69 (1969) - Lee Madden | Synopsis, Characteristics, Moods, Themes and Related | AllMovie".
  28. ^ Attenborough, Richard (1997). "The Caper Film". The BFI Companion to Crime. University of California Press. p. 71. ISBN 978-0-520-21538-2.
  29. ^ Tobias, Scott (January 24, 2019). "'King Of Thieves': Bank Heist Film Deposits A Great Cast But Withdraws The Style". npr.org. NPR. Retrieved May 29, 2020.
  30. ^ "Mankatha – Strictly No Rules". BBFC. Retrieved November 22, 2020.
  31. ^ "Ajith & Venkat Prabhu joins for Mangatha!". Sify. 2010. Archived from the original on July 19, 2010. Retrieved July 16, 2010.
  32. ^ Tallerico, Brian. "The Misfits movie review & film summary (2021) | Roger Ebert". RogerEbert.com. Retrieved August 21, 2021.
  33. ^ Travers, Peter (June 8, 2007). "Ocean's Thirteen". Rolling Stone. Retrieved June 13, 2020.
  34. ^ Ebert, Roger (July 13, 2001). "The Score movie review & film summary". Retrieved November 10, 2020.
  35. ^ Kehr, Dave (September 9, 1992). "SLEEK 'SNEAKERS' FITS HEIST GENRE LIKE AN OLD SHOE". Chicago Tribune. Retrieved October 27, 2020.
  36. ^ Ebert, Roger (October 17, 1968). "The Split, Roger Ebert review". rogerebert.com. Retrieved April 3, 2020.
  37. ^ Patten, Dominic (October 25, 2019). "'Mindhunter's Holt McCallany Riding Shotgun With Jason Statham In Guy Ritchie's New Heist Movie". Deadline Hollywood. Retrieved June 18, 2021.

Further reading

  • Lee, Daryl (2014). The Heist Film: Stealing with Style. Columbia University Press. ISBN 978-0-231-85058-2.
  • Sloniowski, Jeannette; Leach, Jim, eds. (2017). The Best Laid Plans: Interrogating the Heist Film. Contemporary Approaches to Film and Media Series. Wayne State University Press. ISBN 978-0-8143-4224-4.