Underlying Tensions within the Big Heat :: essays research papers fc

A tension between unperturbed rise up and hidden corruption structures The Big cacoethes, and the drama deals with a fence between those perpetrates 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 celluloid.Somebodys going to pay because he forgot to shoot me, this was the tagline featured on the poster for Fritz Langs dark need noir undefiled The Big Heat which establishes the films undercurrents of violence and revenge. The plot places the films lone uncompromising homicide research worker Dave Bannion, play by Glen Ford, in direct opposition to a hostelry corrupt at almost every level, ranging from the mob to the police surgical incision itself. The films themes of corruption, violence, vengeance and individual struggle are seamlessly expressed through Langs use of economical storytelling, expressionistic lighting, unrelenting performances, costumes and use of set and dcor.The Big Heat takes its place amongst a plethora of contemporary films traffic 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 metropoliss. worthy films include The Enforcer from 1951, Robert Wises The Captive City (1952), Phil Karlsons Kansas City Confidential and The Phenix City (1952 and 1955 respectively), Jospeh Lewis The Big Combo (1955) and Samuel Fullers 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 existent life Mobster Lucky Luciano, fearing his clash with Bannion might lead him toward the kindred ditch with the Lucky Lucianos.In discussing surfaces in The Big Heat it is important to emphasize the films unfeigned fascination with surfaces, human faces, lighting, locations, etc. peradventure the scene that the film is best known for is where gangster moll Debby Marsh, played by Gloria Graham, has a pot of boiling hot coffee splashed across her face by the sadistic thug Vince Stone, played by Lee Marvin. The result is that Debbys face is terribly disfigured, a literal destruction of a surface. However, the act actually transforms Debby from a simple bimbo into the films heroine. Her previous character relied on good looks to charm her track into money, her main occupation being shopping. These good looks were merely a surface and deceiving, her inside actually vacant and manipulative.