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

A tension between placid surface and hidden subversive activity structures The Big raise up, 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 give way (Tom Gunning). Discuss this claim in relation to the film.Somebodys going to pay because he forgot to kill me, this was the tagline featured on the poster for Fritz Langs apparition 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 Langs use of economical storytelling, expressionistic lighting, unrelenting performances, costumes and use of set and dcor.The Big Hea t 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 metropoliss. Notable films include The iceman 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 actual life Mobster Lucky Luciano, fearing his opposition with Bannion might lead him toward the same ditch with the Lucky Lucianos.In discussing surfaces in The Big Heat it is important to emphasize the films typographical error fascination with surfaces, adult male faces, lighting, locations, etc. Perhaps the scen e that the film is best known for is where gangster moll Debby Marsh, played by Gloria Graham, has a pot of boiling hot umber 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 way into money, her chief(prenominal) occupation being shopping. These good looks were merely a surface and deceiving, her inside actually vacant and manipulative.