Heist film

While there is no unanimous agreement on what constitutes a heist film, there are some common characteristics that most films in the genre share. The most basic is that films in the genre tend to follow the planning, execution and aftermath of one large robbery. As a result of this, heist films tend to focus on the process of the crime, often planned in great detail, followed by extended exposition of the heist itself. The genre is also distinct for almost exclusively following those committing the crime rather than whoever is trying to stop them. This often leads to the viewer building some form of sympathy or respect for the criminals. This trend started as a result of the initial films in the genre being made in Hollywood during the Motion Picture Production Code, which prohibited criminals from getting away with their crime. While this has changed since the disappearance of the code, the trope of failed heists still remains. One of the most dynamic examples is Reservoir Dogs, which focuses solely on trying to figure out which of their group members betrayed them after a failed heist. Another popular trope is "one last job", whereby a criminal looking to quit the life enlists the team to commit one last heist so they will have money for the rest of their days. This can be seen in early films such as The Asphalt Jungle (1950) as well as more recent like Heat (1995). == History ==

While elements of the heist film can be seen in movies as early as The Great Train Robbery (1903), the genre didn't become fully fledged until the late 1940s and the early 1950s. The film widely agreed upon as the first to do so is John Huston's 1950 The Asphalt Jungle, starring Sterling Hayden and Sam Jaffee (with Marilyn Monroe in a supporting role). The period between 1955 and 1975 is considered by scholars to be the most productive for the heist genre. It began with American filmmakers continuing the noir heist trend in films like 5 Against the House (1955) and The Killing (1956). The ‘50s also saw the release of the first international heist films. Notably, a handful made in France were influenced by and responding to the American style. Two notable examples are Rififi (1955), which is known for its detailed 30 minute heist sequence, and Bob Le Flambeur (1956), known for an ending which plays with the conventions of the genre. The 1950s also marked the beginning of British heist film, including The Lavender Hill Mob (1951) and The Lady Killers (1955), pictures which introduced comedy to the genre. A notable Italian heist film from this period is Big Deal on Madonna Street (1958), a parody of the genre. In the 1960s heist stories became more mainstream, with glossier and higher-budget heist films which moved away from the fatalism and darkness present in the earlier noir heists. Two examples of this from the early 1960s are the British film The League of Gentlemen (1960) and the American film Seven Thieves (1960). Despite having conventional heist plots about gathering together a group to commit a heist, both films balance comedy and drama, unlike the darkness of the earlier noir heist films. The mainstream shift as well as a growing cultural interest in travel led to a wave of glossy heist films involving exotic international locals, such as Topkapi (1964) and How to Steal a Million (1966). In France Rififi spawned a number of lower-budget crime films which often used Rififi as part of their title. These include films such as Rififi in Tokyo (1963) and Du rififi à Paname (1966). As the decade continued, the French also began to produce more glossy heist films which served as star vehicles for big names of the time, such as Any Number Can Win (1963) starring Alain Delon and Greed in the Sun (1964) starring Jean-Paul Belmondo. The most celebrated French heist films of this time were directed by Jean-Pierre Melville, whose heist film Le Cercle Rouge (1970) is often regarded as one of the greatest heist movies of all time. This expansion of the genre in the 1960s also led to remakes of older heist movies, with an early example being Cairo (1963), which is a remake of The Asphalt Jungle. In 1968, the motion picture production code was abolished, paving the way for a number of heist films that didn't shy away from portraying graphic violence. This included films like Charley Varrick (1973) and The Getaway (1972). The period between 1975 and the early 1990s is considered a low point for productivity in the heist genre. While some were made, such as Thief (1981) and a remake of Big Deal on Madonna Street called Crackers (1984), some critics do not consider them as meaningful developments of the genre. The 1990s would see the return of the heist film, with a number creating new interest. While pictures like John Woo's Once a Thief (1991) and Steven Soderbergh's Out of Sight (1998) would bring some attention to the genre, the three that returned the genre to prominence were Reservoir Dogs (1992), Heat (1995) and The Usual Suspects (1995). This led to a large output of heist films throughout the 2000s. These range from British efforts like Snatch (2000) and Sexy Beast (2000) to animated films like Fantastic Mr. Fox (2009) to popular Hollywood films like Inside Man (2006) and remakes of heist classics like The Italian Job (2003). Some of the most popular heist films of this era are the remake of ''Ocean's 11 (2001) and its sequels Ocean's 12 (2004) and Ocean's 13'' (2007), which remain so today. == List of heist films ==