Hellen I like the storyline of this show,it attract me so much

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

bkoganbing The Big Caper has enough interesting characters to make it worth watching. But this 50s noir caper film could have used a lot of improvement in the characters and their motives.Rory Calhoun is a conman associate of big time crook James Gregory and Calhoun has blown the proceeds of the last score on slow horses at Del Mar. He wants to work again and has bank job lined up, a small town bank where the money for the pay of the US Marines stationed at Camp Pendleton is located. Gregory cooks up a scheme and it's a dilly. Part of it involved Calhoun and Gregory's girl friend buying a filling station and a home and living in the town for a few months as Ward and June Cleaver clones. Mary Costa the girlfriend gets to like the lifestyle, Calhoun isn't crazy about it at all. I can't really believe that Gregory sends Costa off to live with Calhoun and pretend to be man and wife. Is there something wrong with that picture?The scheme however is something else. And Gregory collects around him some set of helpers. Robert Harris is an explosives guy who gets his jollies from his work and has a real drinking problem. There's muscle bound Corey Allen who has issues and is crushing out on Gregory as a father figure. Paul Picerni brings along the ultimate bimbo Roxanne Arlen and tells her just enough about the score to have to have her taken care of.These people, especially Arlen really make The Big Caper worth looking at. The plot and the redemption of our protagonists is not especially well dramatized.

Movie Critic 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

zardoz-13 Rory Calhoun swaps his horse for a car in director Robert Stevens' taut little heist thriller "The Big Caper" with Mary Costa and James Gregory. If this slickly done melodrama is predictable, you have to remember that when it came out, nobody could get away with a crime. Although the robbers aren't able to get away with a cool million in bank notes, they manage to execute the crime. "The Big Caper" is memorable chiefly because of its gallery of warped rogues, right down to the amoral protagonist who finds the right gal and decides to quit the racket. Stevens and scenarist Martin Berkeley never let the action go slack as the thieves lay out the project. Unfortunately, the trust among the thieves erodes quickly after a gin-swilling explosives experts is recruited into their ranks. Meanwhile, Flood (James Gregory) grows suspicious about the relationship between Frank Harper (Rory Calhoun) and his girlfriend Kay who have settled in town of San Felipe, California, as a couple who operate a gas station. Zimmer drives the wedge in deep between Flood and Harper because Harper doesn't like him hitting the bottle. Things grown complicated because the thieves want something to distract the authorities while they steal a million-dollar payroll intended for the Marines at Camp Pendleton. When the gang isn't slowing deteriorating, Harper grows compassionate with his neighbors. Ultimately, he turns against Flood when he learns that Zimmer plans to plant the explosives for the distraction at the local high school. The catch is that when Zimmer plants the explosives, the school is filled with kids practicing a play. The abrupt ending is the worst thing about this superbly acted drama.

noir guy 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.