10 intense heist thrillers from the 1970s worth checking out

The 1970s produced many propulsive heist thrillers, helping to shape the crime genre for decades. Heist movies in the 1960s are typically classified by stylishness. Movies like Gambit, how to steal a million And Ocean 11 Presented a version of crime that was painless and mild. The following decade shook things up, reintroducing an element of danger that had been largely absent from the heist genre for years.

Some of the best heist movies ever made were produced in the 1970s, including Dog day afternoon And The Sting. Although these movies are just as funny as earlier films like The Italian work Or take the money and run, They also have a lot of tension. The 1970s was the decade when heist movies began to balance humor and excitement, paving the way for later classics of the genre. The practical effects, clever plotting and great performances mean that these Heist classics have stood the test of time.

10

The Hot Rock (1972)

Robert Redford stars in a twisty crime caper

The hot rock was released in the UK with the alternative title How to steal a diamond in four disturbing lessons. This obviously evokes the 1966 classic how to steal a million And it is clear that The Hot rock is aiming for the same breezy humor and surprising intensity. Robert Redford stars as the leader of a gang who are contracted to steal a diamond from a New York museum that was stolen from Africa a long time ago.

The hot rock Follows the gang as they are forced to steal the diamond several times, first from the museum, and then from a police station and a bank, and there’s a prison break sequence along the way for good measure. Although The hot rock Cranking up the absurdity with each heist, there are some surprisingly tense moments too. This makes the audience root for the unlucky crooks, even when all they seem to be doing is failing.

9

Charlie Warrick (1973)

Walter Matthau tries to investigate the mob after a heist

Two years before directing Charlie WarrickDon Siegel helped bring another big-screen tough guy to life Rude Harry. The role of Varrick was initially offered to Clint Eastwood, but Walter Matthau was cast instead after Eastwood turned it down. Matthau brings his famous hangdog persona to the Crop Duster pilot-turned-crook, portraying him as a character who seems to have no luck, even after he successfully robs a bank for nearly a million dollars.

Some of Walter Matthau’s most famous roles showcased his comedic instincts, however Charlie Warrick is a neo-noir crime drama with very little to laugh at. As Varrick is pursued by the mafia, escape starts to seem impossible, so he decides instead to confront them for a dramatic final showdown. The ending delivers many of the film’s most eye-catching scenes, such as the plane chase. Most heist films build up to the big score, however Charlie Warrick is all about the aftermath.

8

Harry and Walter Go to New York (1976)

James Caan and Elliott Gould star as two dark-witted thieves in this period heist thriller

James Caan will always be most famous for his roles in crime movies, esp the Godfather, But he was also an excellent comic actor. Harry and Walter go to New York Pair him with Elliot Gould for a heist caper set in the late nineteenth century. The main cast is rounded out by Diane Keaton and Michael Caine, who was already a heist movie legend after Gambit And The Italian work In the 1960s.

Caan and Gould play two struggling vaudeville performers who decide that the fastest way to high society is to quit show business and turn to robbing banks. They find that they have to compete with the best bank robbers in town. Caine’s character, Adam Worth, is based on a real-life criminal, although the plot of the movie is entirely fictional. Harry and Walter go to New York is a joyous crime caper, and Caan and Gould’s fiery dynamic keeps it entertaining.

Clint Eastwood and Jeff Bridges make an entertaining odd couple

Michael Cimino went on to achieve widespread success with the deer hunter But his directorial debut was much lighter. Thunderbolt and Lightfoot is a crime caper featuring two mismatched criminals who form an unlikely friendship. Clint Eastwood plays one of his stoic tough guy characters, while Jeff Bridges plays his goofy, laidback accomplice. The dynamic plays beautifully to each actor’s strengths.

Thunderbolt and Lightfoot is one of Jeff Bridges’ best movies, and certainly one of his most personable performances. His character is the comic key that shows a new side to Clint Eastwood’s well-worn persona. Besides providing some light humor, Thunderbolt and Lightfoot Also delivers plenty of crowdpleasing action. The car stunts in particular are loaded with the kind of dangerous intensity that can only be achieved through practical effects.

6

The Driver (1978)

Walter Hill’s influential thriller continues well

Nicolas Winding Refn quoted The driver As one of his main influences, it is no surprise to see some of the key building blocks Drive Also in Walter Hill’s 1978 thriller. The driverIts captivating atmosphere and shocking feats of action have also left their mark on many other filmmakers. Quentin Tarantino and Edgar Wright both count themselves fans, and the relationship between the main characters also seems to have shaped Michael Mann’s Heist classic hits.

Any crime thriller with a title like The driver Needs to provide great chase scenes. Fortunately, Walter Hill does just that. He usually keeps the camera low to the ground, emphasizing the speed and the heavy collisions of the chase. The driverIts biggest strength isn’t the action sequences though, it’s the way it constructs an absorbing game of cat-and-mouse between a detective and a criminal. Isabelle Adjani adds another layer of intrigue as the mysterious love interest with her own agenda.

5

Le Cercle Rouge (1970)

Le Cercle Rouge is the culmination of modern 1960s heist movies

Le Cercle Rouge Translated to the red cross, But it is mostly known by its original French title. Le Cercle Rouge is one of the cornerstones of the heist genre, continuing the tradition of other French classics such as Rify And Bob La Flamber, which was also directed by Jean-Pierre Melville. In contrast to the narrative of Bob La Flamber, Le Cercle Rouge Is very economical with her language and movements.

The last heist sequence in Le Cercle Rouge is one of the best ever filmedAnd it was mimicked many times. The heist plays out with hardly any dialogue, music or noise. With the criminals wearing black masks, Melville shows just how much he can do with the language of film and the most minute eye and hand movements. It is an even more refined version of Grand SlamThat’s from three years ago, though Le Cercle Rouge Does a better job of building the stakes and the characters.

4

Lupine III: The Castle Of Cagliostro (1979)

Hayao Miyazaki’s debut feature is an exceptional take on the famous thief

Although it was his directorial debut, Lupine III: The Castle of Cagliostro Stands out as one of Hayao Miyazaki’s best movies. Since it was produced long before Miyazaki founded Studio Ghibli, The Castle of Cagliostro is often separated from his later work, but it is just as entertaining and sweet. It’s a great showcase for Lupine III, the charming thief who made his debut in a manga series before appearing in several movies and TV shows.

The Castle of Cagliostro Gives Miyazaki the chance to show off his flair for animated action sequences. The car chase is the main eye-catching, but there are also some creative fights to keep alive. The Castle of Cagliostro is a great family-friendly heist movie. It incorporates elements of fantasy and adventure into the story, as Lupine III tracks some counterfeit money to a foreboding castle, where he finds that a mysterious army is ruled by a corrupt count.

3

Dog Day Afternoon (1975)

Al Pacino stars in a real-life heist story

Dog day afternoon is one of Al Pacino’s best movies, and his performance earned him his fourth Oscar nomination in four years. It reunites him with his Godfather Co-stars John Cazale as a pair of bank robbers whose plan goes south once the police show up, leading to a protracted hostage situation in the New York summer heat. Dog day afternoon is one of relatively few heist movies based on real life. The real heist took place in Brooklyn in 1972.

Sidney Lumet’s direction ensures that Dog day afternoon Remains tense and captivating throughout, but it’s also a hilarious crime movie about two increasingly stressed-out thieves. Although it’s not an out-and-out comedy, Pacino’s performance is so relatable that it’s easy to see the dark humor of his character’s rotten luck. Dog day afternoon Also shows the sensationalist swirl of news media, and the way large crowds treat violence and drama as a spectator sport.

2

The Taking Of Pelham One Two Three (1974)

The original adaptation is still the best

1974s The names of Falham one two three is the first of three adaptations of Morton Freedgood’s novel of the same name. Although the 2009 version starring Denzel Washington has some exciting moments, it doesn’t come close to the quality of the original. The names of Falham one two three Follows a group of criminals who hijack a busy New York City subway car and demand a huge ransom to free the hostages.

The names of Falham one two three Follow the action from above and below ground, going inside the subway car and the police station as they coordinate a response. It’s a nail-biting thrill ride with a simple but effective ticking clock. The names of Falham one two three Manages to balance its nerve-shredding tension with some spontaneously funny moments. Through it all, it is relentlessly entertaining. The color-coded names of the thieves have been echoed in many heist movies, including Reservoir Dogs.

1

The Sting (1973)

Paul Newman and Robert Redford team up for the big con

The Sting Stars Paul Newman and Robert Redford as two con artists who team up in Chicago during the Great Depression. The Sting Uses ragtime music, title cards, and even the period-appropriate logo for Universal Pictures to paint a charmingly detailed portrait of the 1930s. In doing so, it draws parallels between the unrealistic idea of ​​the “American Dream”, which took hold during the Great Depression, and the subversive joy of heist films. in The StingAmerica’s view, everyone is a con artist.

Although The Sting Sticks to some of the time-honored conventions of the heist genre, like the idea of ​​brains outweighing brawn, and the little guy knocking off the rich sign, it’s a unique film. The complexity of the con is what makes The Sting So satisfying, paired with the good humor and the lovable underdog characters. Although The Sting is a carefully constructed fantasy, it still has a level of menace, as it shows what Lonnegan is capable of early on.