I love this movie so much

Excellent, Without a doubt!!

It's entirely possible that sending the audience out feeling lousy was intentional

By the time the dramatic fireworks start popping off, each one feels earned.

I just finished watching "The Big Caper" and thought it among the best film noir pictures I have seen--and I've seen a lot. Because it was so good, I am shocked that its current rating on IMDb is quite mediocre. Believe me, it's well worth your time.The film begins with Frank (Rory Calhoun) approaching Flood (James Gregory) with a plan to knock over a bank. But, it's no ordinary bank--it will have a million dollars for the payroll of the nearby military base. The plan, however, is NOT to just walk in and steal the money--it's much more subtle. Frank and Kay (Mary Costa) will first go to this small town and open a business. Then, after four months of fitting in, they'll launch the caper.There are LOTS of glitches along the way. The biggest one is that after four months of playing house, Frank and Kay find they actually are enjoying their fake married life. The business is going very well and they like the community. For the first time, they like being normal. But, normal is NOT what the rest of the gang turns out to be. They are among the sickest group of misfits I've ever seen--far sicker than the usual noir baddies. Frank's phony uncle is actually a psycho who loves blowing up and burning things...and he's also an unpredictable alcoholic and complete sociopath. Flood's other recruits aren't much better--but you'll just have to see this motley group for yourself to believe it. Where does it all go? As I said, you just have to see it for yourself.The biggest pluses of this film are the character development as well as the assorted group of sick freaks. Frank and Kay's transformation through the course of the film is believable and the sickies are terrifying. In addition, the film is quite taut and exciting. Rarely have criminals seemed so evil during this era than in "The Big Caper". Believe me, they make folks from other contemporary films like "The Asphalt Jungle", "DOA" and "The Killers" seem like pussycats! Well worth your time.

Not too bad for this type B noirish thriller (except the criminals don't get away with it darn it--but this is 1957--no body got away with any thing.)The plot: Frank (Rory Calhoun) enlists Flood (James Gregory) to help him steal 1 million dollars that is deposited every payday in a small town bank near Camp Pendleton for the military payroll. The plan is to have Kay-Flood's girlfriend (Mary Costa) pretend to be married to Frank and go to the small town where the bank is located 6 months before the heist and blend into the local community by buying a gas station and a house (far too nice and expensive for a tiny gas station owner by the way)---Hollywood never had much reality in these type of details. Somehow by living there this will make the caper work I guess by supplying a safe house where no one will think to look for the money---because neither Kay nor Frank are critical to the robbery itself. It is OK to pass some time since you know in the beginning this caper will fail and there is nothing particularly suspenseful about any of it. It is competently acted and filmed...gets a 5 or 6.RECOMMEND

Robert Stevens directs this crime drama; almost the perfect crime. Frank Harper(Rory Calhoun), a con man down on his luck and flat broke, goes to a long time crime boss named Flood(James Gregory)to ask for set up money for the perfect crime. It takes some convincing, but Frank knows for sure that a small-town bank regularly has the near by Marine base's payroll deposited. Flood figures that if he sends his girlfriend Kay(Mary Costa)with Harper to set up house as a new couple to the community they could prepare for the caper without suspicion. Calhoun comes across real cool. Costa is convincing as a pretty woman that needs affection and the chance for a real life. Planning out the heist is interesting. Other players include: Robert Harris, Paul Picerni, Roxanne Arlen and Ray Teal.

Adapted, like Stanley Kubrick's more celebrated 1956 crime movie THE KILLING, from a novel by underrated thriller writer Lionel White, THE BIG CAPER is an economical, pacy minor 50s crime movie which, unfortunately, somewhat loses its grip and falls away on the home strait to deliver less than it initially promises. Trapped in an ever-increasing spiral of gambling losses, Frank (Rory Calhoun, taking a welcome break from the saddle) sells his now semi-respectable gangster boss Flood (James Gregory) the idea of bankrolling a 'big caper'. The sleepy Californian coastal town of San Felipe is home to a bank which holds the substantial payroll for a nearby army base, and appears just ripe for the pickings for a team of professional hoods. Flood stakes the plan, and, after buying up the local gas station (an ideal stakeout locale for the bank located across the street), Frank sets up home with Flood's moll Kay (Mary Costa), aiming to win the trust of the local populace based on a seemingly legitimate veneer of domestic normality. Biding their time, Frank and Kay ingratiate themselves with the local 'square' population as they await the arrival of Flood's specialist team. But when this outfit includes an alcoholic pyromaniac, an inveterate womaniser, a psychotically loyal bodyguard and a kingpin who is beginning, rightfully, to suspect that his girl wants out from her previous lifestyle, the seemingly perfect caper begins to look fatally flawed. Swift and punchy, and betraying the best of its paperback origins in swift, sharp characterisation and abrupt narrative gear changes, this benefits from a nicely embittered change-of-pace lead performance from Calhoun (who, in forsaking his cowboy boots and spurs here, suggests he would have made an effectively downbeat noir actor) and a surprising sense of well-oiled coiled-spring menace from the underrated Gregory. Although a tad schematic in its paralleling of the Eisenhower-era nuclear family with Flood's dysfunctional criminal one, and running out of steam on the way to a regrettably contrived ending which involves a Damascene conversion which doesn't quite convince (a more cynical remake would probably put that right, though), this is a diverting slice of 50s criminality which seems, like much of the quirky crime roster from this period, to have slipped off the generic radar in recent years. Worth a look, even if it can't hold a candle to Kubrick's more celebrated Lionel White adaptation from the same period.