Lang's methods of creating suspense have aged quite a bit, but the story is all right. Great performances by Marvin and Ford.

Gloria Grahame is great in this, i wish her character was developed more.

A film-noir with a happy ending seems unnatural. Fritz Lang is a successful director but this work is unimpressive, i could barely find one or two shining things about the movie. And the absurdity after coffe throwing scenes. How can you even talk after your face is burnt with hot coffee?

An excellent detective thriller from Lang that explores the darker side both of what it means to stand up for justice in a hostile environment, and of the way vengeance can so easily weave its way into the pursuit of justice. The film's themes gel nicely with the genre, but what really helps this one to take off is Lang's fluid camera. It moves effortlessly through the various locations, emphasizing the inter-connectedness of people/events and the ethical gray areas that all people grapple with.

Next to Chinatown, this is the blackest film noir you will ever see. Fritz Lang gives Glenn Ford's tough, honest cop stock character a dark and destructive spin, making him responsible for the deaths of at least four women. This movie has a really nasty, sadistic streak. Also Gloria Grahame is the best and sexiest gun moll in movie history.

What begins as straight procedural gradually descends through nastier elements of violence, sex, and sheer hatred. Put simply, this movie is noir as fuck.

A very exciting noir. While it presents a fairly standard story, it has some deep moral implications that are interesting to think about after it ends.

Ford was quite good, but Marvin is the true star here.

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So many film noirs have corrupt police and dark underworlds of crime, but this is one of those better ones that can actually make that stuff seem like a genuine threat rather than just another plot element. It's dark, has a nasty streak to it and is a gripping piece of filmmaking. I thought some of the family interaction stuff between Dave Bannion and his family was a bit clunky, but that's my only real complaint with an otherwise very engaging piece of film noir.

This is a reasonably well made film noir, but its approach is too direct, and it wears its morals on its sleeve. The characters are stereotypical, each marching toward obvious goals, lead by Ford's Bannnion, who is one of the least interesting detectives ever to grace the silver screen. Grahame's Marsh and Marvin's Stone have some interesting interplay, and in Grahame's case even some progression, but they don't have enough screen time to make up for the otherwise tepid plot.

About as powerful as getting hit with some coffee in the face. Was constantly intrigued and the film gives you enough twists and turns that what comes next isn't obvious and can be shocking. I like how the runtime was short and they didn't waste a second of it, no scene felt misplaced. Lee Marvin and Glenn Ford were both excellent as well. Besides some somewhat dated dialogue this was pretty great.

Solid noir that examines the difference between justice and vengeance. Glenn Ford plays an odd character; he starts the film as a typical honest cop railing against injustice and corruption, but seems completely oblivious to the fact that it's his actions that are causing all the bodies to pile up around him. Strong performances from Lee Marvin and Gloria Grahame, too. Marvin as the psycho mob henchman and Grahame as the ditzy moll with a good heart.

#362

A well-crafted noir with an engaging plot and great characters. I always thought that female characters in noirs tend to be rather underdeveloped and weak, but there is no such problem in The Big Heat. Gloria Graham was a pleasure to watch as Debby.

Lang's violence is so visceral that you forget you're watching a film noir from the fifties. Well-acted all around with a satisfying conclusion.

Good film.

A wonderful, hard-boiled film noir from the 50s.

awesome

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