Why do we root for the criminals in heist films?
In short: The heist film is more than just a robbery. From the gritty noir of the 1950s to modern comedies, the genre relies on a specific formula: assembling a skilled team, meticulous planning, and the inevitable, often tragic, aftermath of a high-stakes crime.
The genre's foundation was largely laid by John Huston’s 1950 film, The Asphalt Jungle. This film is credited with popularizing the genre for mainstream audiences, establishing the trope of a crew recruited for their unique skills. Early 'noir heists' like The Killers (1946) and Criss Cross (1949) were characterized by a dark, fatalistic tone and expressionistic black-and-white cinematography, often focusing on the personal failings that lead to a robbery's failure.
A defining characteristic of the genre is its perspective. Unlike many crime dramas, heist films almost exclusively follow the perpetrators rather than the authorities. This narrative choice often fosters sympathy or respect for the criminals. The structure typically follows a three-act progression: the assembly of the crew, the execution of the robbery, and the subsequent unravelling. Some films, like the 1969 classic The Italian Job, may skip the aftermath, while 1992's Reservoir Dogs focuses almost entirely on the aftermath and the search for a traitor.
The genre has undergone significant shifts in tone and regulation. During the era of the Motion Picture Production Code, films were often required to ensure criminals did not 'get away' with their crimes, a rule that helped cement the trope of the failed heist. As the code was abolished in 1968, films like The Getaway (1972) could portray more graphic violence. While the period between 1975 and the early 1990s saw a decline in productivity, the genre experienced a massive resurgence in the 1990s with hits like Heat (1995) and The Usual Suspects (1995), eventually leading to the high-budget, polished era of the Ocean's Eleven franchise.
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Sources
- Summary by Intellect · source: Heist film
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