How to Bungle a Heist

An Italian film poster for the 1958 crime caper comedy BIG DEAL ON MADONNA STREET, directed by Mario Monicelli.

While some point to The Asphalt Jungle in 1950 as the film that really marked the emergence of the heist film, the genre had actually been in existence since the silent era with The Great Train Robbery (1903) a prime example on up through the forties with such influential efforts as High Sierra (1941). It is true, however, that the heist film became an international phenomenon in the fifties thanks to the worldwide success of Jules Dassin’s Rififi (1955) which set the standard for subsequent films such as Stanley Kubrick’s The Killing (1956) and Jean-Pierre Melville’s Bob Le Flambeur (1956). It was inevitable that some filmmaker would eventually poke fun at the then-current craze but nobody expected it to come from Italy in what is now regarded as possibly the finest heist parody of all time – Big Deal on Madonna Street (1958). Directed by Mario Monicelli, the film was known in Italy as I Soliti Ignoti and was also released under the alternate title of Persons Unknown.

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Sin City Mercenaries

Las Vegas aka Sin City, the gambling mecca of the world, might be a symbol of capitalism at its worse but it makes an irresistible location for a movie with its dazzling neon lights and nightlife diversions from extravagant musical revues to strip clubs to glittering casinos. The intoxicating atmosphere has been featured prominently before in musicals like Meet Me in Las Vegas (1956) and Viva Las Vegas (1964) as well as comedies (Honeymoon in Vegas [1992], Fear and Loathing in Las Vegas [1998]) and dramas (Leaving Las Vegas [1995], Casino [1995). But I especially enjoy the crime caper films set in Sin City such as Ocean’s 11 (1960) and the remakes it inspired years later starting with Steven Soderbergh’s Ocean’s Eleven (2001). To this list, I have to add an often overlooked but superior genre entry from 1968 – They Came to Rob Las Vegas

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Rififi in Tokyo

Rififi in Tokyo poster
Rififi in Tokyo poster

Rififi, Jules Dassin’s quintessential 1955 noir/heist thriller, had quite an impact on the European crime movie genre in its day, although most of its imitators or similarly inspired creations rarely found distribution in the U.S. except as English-dubbed second features in limited runs in a few major cities like New York. I have yet to read of any major film critics or movie buffs like Quentin Tarantino championing any of the Rififi knockoffs. But for anyone with a soft spot for heist films, you might enjoy sampling some of these lesser efforts, particularly RIFIFI IN TOKYO (1963).     

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