Larceny (1948)

Just perfect...

Highly Overrated But Still Good

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Fraudster Dan Duryea (Silky) heads an operation which includes John Payne (Rick) as his main player. They fleece the wealthy by convincing their targets to raise money for a false project and then disappear with the cash. Their newest mark is war widow Joan Caulfield (Deborah) and it is Payne's task to befriend her and gain her trust. So, off he goes - game on. Added into the mix, Duryea has a brash girlfriend - Shelley Winters (Tory) - who is having an affair with Payne and she is not shy in speaking her mind. Duryea is the jealous type so Payne had better watch himself on this front. All seems to be going well for Payne...The main players in this film all give good performances. If you are familiar with the films of Miss Winters you may well guess something about her and you'd be correct. She delivers some great dialogue and is genuinely funny with it towards the end of the film. Payne should definitely have nothing to do with her. The film keeps your attention and it is a great way to learn how to fleece the rich. There are some very good pointers and important rules of psychological engagement that are set out. After watching this, you may well feel rather accomplished in this field. But do you have the heart to carry out this type of mission? Unfortunately, I don't. And anyway, love conquers all and may well be your downfall. But if you don't have a heart....this film may prove educational.

With crime boss Dan Duryea keeping an eye on him, dashing con-artist John Payne does his best to go through with the larceny to end all larceny's, swindling sweet widow Joan Caulfield over bequests to build a youth center near the mission she works at. But there are far too many hot to trot broads after him, including jealous Duryea's equally jealous floozy moll (Shelley Winters), suave secretary Dorothy Hart and wisecracking waitress Patricia Alphin who is no match for Winters' threats to cut out her heart. Duryea keeps getting more suspicious, even though it's obvious that Payne is slowly falling for the gentle widow.This is moderately entertaining but old hat as far as the story goes. However, with character performers like Percy Helton and Walter Greaza along, with tough talking Winters getting a ton of great dialog and Duryea equally sinister, the film seems to be better than it is. Caulfield seems too good to be true, especially with the three vixens dropping a quip every time she oozes more sweetness. Payne's a far cry from all the war heroes, athletes and other good guys he's played. I would recommend this simply on the basis of seeing Winters on her way up the ladder, still quite shapely, but certainly no lady.

When I went to see this lesser known noir, the person introducing it described it as "almost a parody" of this kind of film and said not to take it too seriously. Nevertheless, it is a film about con artists and their techniques, and I love those. Especially well showcased is the technique of letting a mark think something is his or her own idea, and people are always more determined to do things that they think are their own ideas. The story features a group of globetrotting, high-rolling grifters led by John Payne and noir regular Dan Duryea, who decide to target a wealthy but naive young war widow(Joan Caulfield) with a scheme to build a youth center memorializing her husband. This necessitates Payne pretending to be a buddy of her late husband, who in reality, he had never met. At first the plan is to raise money from wealthy friends, but she then decides to bankroll the whole project herself. Things are further complicated when a sometime girlfriend of both of the men, played by a tough-as-nails young Shelly Winters, refuses to stay under wraps. This film seems to have been largely forgotten, which is a shame.

Like Dick Powell, John Payne was another crooner and hoofer from ‘30s musicals – a light leading man – who saw new opportunities waiting in the changing Hollywood of the late ‘40s and seized them. Eschewing also-ran roles in prestige pictures (The Razor's Edge, Miracle on 34th Street), he found he was better off taking top billing in the grittier Bs of the newborn noir cycle. It was a smart move. With rugged good looks but no glamour boy, a strong, silent type who didn't make it a gimmick, he turned into a plausible and appealing Average Joe, without ever fading into the generic. In the half-dozen or so noirs he starred in, he straddled both sides of the law, though he usually found himself stranded in a no-man's land in the middle. In Larceny, he's one of a gang of con-men led by Dan Duryea. They've just finished a grift in Miami Beach, so Payne is sent to the far coast, to `Mission City,' to lay groundwork for the next job. He poses as an old service buddy of a slain war hero so the widow (Joan Caulfield) will spearhead a fund-raising drive for a memorial – sort of a posh Boy's Town for underprivileged youth – that, of course, is nothing more than a scheme for bilking donors.But that mischievous cherub Cupid throws a few monkey wrenches into the works. First off, Payne starts developing protective feelings for Caulfield and, more slowly, she for him (she's been playing Vestal Virgin at her husband's altar for so long she finds her own feelings a betrayal). Even worse, Duryea's moll, a `boa constrictor in high heels' (Shelley Winters, in full blonde-bombshell mode) carries such a torch for Payne that she follows him out west, by bus yet. The sicker Payne grows of her, the needier and more reckless she gets – their unstable chemistry threatens to blow them both sky high. The plot executes several quick turns when the possessive Duryea shows up (as does the victim of the Miami scam), when Caulfield reveals that she plans to put up all the money herself, and when Winters decides to take matters into her own pistol-packin' hand....The violence in Larceny is toned way down, confined mainly to Winters' being slapped around (but she slaps back). It relies instead on a tight script, bristling with smart-mouthed cracks: `[Winters] is like a high-tension wire. Once you grab on, you can't let go – even if you want to;' `You kiss like you're paying off an election bet;' `I said I'm sorry but I'm not going to write it on the blackboard 100 times.' It allows Percy Helton and Dorothy Hart space enough to flesh out their small parts (Hart does a scrumptious riff on Dorothy Malone's bookstore clerk in The Big Sleep). All in all, Larceny proves a congenial vehicle for Payne's welcome arrival in dark city.