Underlying Tensions Within the Big Heat
"A tension between placid surface and hidden corruption structures The Big Heat, and the drama deals with a struggle between those forces which try to keep the lid on and those which want to force the hidden violence out into the open" (Tom Gunning). Discuss this claim in relation to the film.
Somebody 's going to pay because he forgot to kill me, this was the tagline featured on the poster for Fritz Lang 's dark film noir classic The Big Heat which establishes the films undercurrents of violence and revenge. The plot places the films lone uncompromising homicide detective Dave Bannion, played by Glen Ford, in direct opposition to a society corrupt at almost every level, ranging from the mob to the police department itself. The films themes of corruption, violence, vengeance and individual struggle are seamlessly expressed through Lang 's use of economical storytelling, expressionistic lighting, unrelenting performances, costumes and use of set and décor. The Big Heat takes its place amongst a plethora of contemporary films dealing in similar concepts of widespread social corruption, focusing especially on the prevalence of organized crime in America, from the smallest of towns to the greatest metropolis 's. Notable films include The Enforcer from 1951, Robert Wise 's The Captive City (1952), Phil Karlson 's Kansas City Confidential and The Phenix City (1952 and 1955 respectively), Joseph Lewis ' The Big Combo (1955) and Samuel Fuller 's Underworld U.S.A. of 1961. The Big Heat from 1953 emerges as the darkest of these films. The historical context the film was produced in is hinted at within the film itself when crime boss Lagana alludes to actual life Mobster Lucky Luciano, fearing his clash with Bannion might lead him toward "the same ditch with the Lucky Luciano 's". In discussing surfaces in The Big Heat it is important to emphasize the films literal fascination with surfaces, human faces, lighting, locations, etc. Perhaps the scene that the
Somebody 's going to pay because he forgot to kill me, this was the tagline featured on the poster for Fritz Lang 's dark film noir classic The Big Heat which establishes the films undercurrents of violence and revenge. The plot places the films lone uncompromising homicide detective Dave Bannion, played by Glen Ford, in direct opposition to a society corrupt at almost every level, ranging from the mob to the police department itself. The films themes of corruption, violence, vengeance and individual struggle are seamlessly expressed through Lang 's use of economical storytelling, expressionistic lighting, unrelenting performances, costumes and use of set and décor. The Big Heat takes its place amongst a plethora of contemporary films dealing in similar concepts of widespread social corruption, focusing especially on the prevalence of organized crime in America, from the smallest of towns to the greatest metropolis 's. Notable films include The Enforcer from 1951, Robert Wise 's The Captive City (1952), Phil Karlson 's Kansas City Confidential and The Phenix City (1952 and 1955 respectively), Joseph Lewis ' The Big Combo (1955) and Samuel Fuller 's Underworld U.S.A. of 1961. The Big Heat from 1953 emerges as the darkest of these films. The historical context the film was produced in is hinted at within the film itself when crime boss Lagana alludes to actual life Mobster Lucky Luciano, fearing his clash with Bannion might lead him toward "the same ditch with the Lucky Luciano 's". In discussing surfaces in The Big Heat it is important to emphasize the films literal fascination with surfaces, human faces, lighting, locations, etc. Perhaps the scene that the
Bibliography: Tracey, Grant, 10 Shades Of Noir: The Big Heat, Images Online Film Journal Vol. 2, www.imagesjournal.com/issue02/infocus/bigheat.htm, accessed May 18, 2005 www.filmsite.org/bigh.html accessed May 18 2005 Wager, Jans B., Percolating Paranoia, Bright Lights Film Journal Vol. 1, www.brightlightsjournal.com accessed May 18 2005