San Francisco Confidential

A middle-aged hoodlum or policeman (or both) (Preston Foster playing Tim Foster) looks out a window in Kansas City, seeing people lining up in front of a bank. The camera shifts to a window sign that reads “Southwest Bank Trust and Savings Association” and moves further to a clock showing 10:00. As staccato background music plays, we return to the inquisitive man in the hotel room. A truck, driven by one Joe Rolfe (John Payne), pulls up to a florist shop just as an armored car arrives at the bank. Two armed guards enter the bank while the middle-aged man watches. He checks his watch and sets a timer. Joe Rolfe returns to his van and passes the armored car as he exits.

Meanwhile, the man in the hotel room stops his timer precisely a minute later. He examines a street map, focusing on the bank, and notes every vehicle riding along with the time it passes. He physically checks off incidents as they occur. The clock reads a few minutes past ten when the armed guards exit the bank carrying sacks of money. The man in the hotel room opens his address book to a listing for “Pete Harris.”

Pete Harris (Jack Elam) lights a cigarette and drinks coffee in his hotel room as he rolls the dice for fun. He is wearing a shoulder holster with a gun—the phone rings. Pete reaches for his gun and looks concerned about answering it. He lets the phone ring for a long time, finally picking it up. “Hello, Pete,” the mystery man says; Pete immediately points out that he has the wrong number and hangs up. In several seconds, the phone rings again, but Pete delays answering for six rings or so. “Don’t hang up on me again, Pete,” the man declares in anger as Pete looks fearful, claiming he does not know the man. But then the man mentions $300,000 and a clean getaway out of the country. “If you’re interested, come to room 302, Baker Hotel, 10 o’clock tonight.” Pete seems a little less worried and more than interested.

Pete sheepishly wanders outside hotel room #302 until finally ringing the buzzer, as the mysterious man in charge looks at his watch and tells Pete to come in. Seeing Pete in the mirror as he enters, the boss, Foster, puts on a mask and hat. As the masked figure enters the front room, Pete is startled and instinctively reaches for his gun. “No change, Pete, you’re still jumpy,” the masked one declares. When Pete demands that the man take off the mask, he instead grabs Pete’s gun, takes it out of his hand, turns around, and punches the surprised gangster. Then he picks Pete’s body off the couch and slaps him silly. “What makes a two-bit heel think he could tower over me?” When Pete begins asking questions, the boss gets angry and tells Pete to leave. “You do it my way!” Still hurting from his beating, Pete says, “You got yourself a boy … now what?” Foster tells him to stay in his room and keep out of sight. Opening his address book, he checks off Harris’ name, and we see the following names: Tony Romano and Boyd Kane.

Meeting with Tony Romano (Lee Van Cleef), Foster says, “You’re a three-time loser, Tony!” to which he replies in a gravelly voice, “Not yet, I ain’t.” Foster goes on, “You drove the getaway car. The police knew you drove the getaway car. Life and no chance of parole. This time, Tony, you’re going for life under the Habitual Criminal Act with no chance of parole.” Tony chimes. It’s a deal, but again, Foster demands, “But no dames this time, understand!” Looking grim, Tony breaks into a smile. “Look, friend, if you don’t like it, don’t knock it,” adjusting his tie.

Next up is Boyd Kane (Neville Brand), wearing dark sunglasses inside the hotel room. “What makes you think I can’t keep doing all right?” Kane replies. Now, without the shades, he adds, “This job you’re talking about, I said I’d listen.” In response, the masked Foster states, “You’re a cop killer. You killed one in the last deal.” Kane dislikes heroes, and Foster retorts, “You can tell that to the warden when they burn you!” Brand stares, saying, “Well, I’m still listening.” The scene then fades to black.

Director Phil Karson, one of the most innovative crime directors of the 1950s, was also one of the best. He used three strong character actors to form the gang's core, leveraging the strengths of each. We have the nervous energy of tall and spindly Jack Elam, his one wandering eye roaming to and fro. He’s a criminal who draws his weapon from fear and nervous energy. He is all face. Then we have Lee Van Cleef, who plays intensely while listening to Foster. But then his serious joke can morph into a smile as he delivers a joke using a prop, his tie. His skinny figure and large nose command the screen. With a warped sense of humor, he can violently explode at any moment. He is a man of style, a sharp dresser. And then we have Neville Brand, the man who would go on to play Al Capone on TV’s The Untouchables to much acclaim; he is the ultimate one-note tough guy of the 1950s; without a stitch of humor, you would not like to meet in a dark alley. He is all bulk and muscle. By now, these character types had slowly become known in cinematic history. And by putting them together, these stereotypes feed off one another to form the ultimate criminal gang. It seems the supporting players in the gang threaten to overshadow the lead villain, Foster. But Foster is cleverly intelligent, finding one major flaw in manipulating each man to join his hoodlum outfit and making each think he’s a savior. Earning $300,000 in this planned heist will enable each man to escape his past and start a new life.

The heist proceeds. Once again, it’s a few minutes before ten. People are lining up, waiting for the bank doors to open. The flower truck driver, Joe Rolfe, pulls up to the florist shop next to the bank. As dramatic music plays, the armored car pulls up in front of the bank. As people mill into the bank, the armed guards follow. Rolfe’s florist truck pulls out as another truck pulls into his spot, but strangely, it is the replica of Joe’s, only with masked men inside. When the armed guards exit the bank, the new florist truck pulls alongside the armored van, and masked men exit from the rear. They quickly hit the guards over the head, grab their money bags, re-entered the truck, and sped away, the event occurring in a minute. But a policeman exiting the bank identifies the escaping vehicle as a Western Florist truck—the getaway car speeds away, soon pulling alongside a Van Lines Moving Van, which quickly speeds off.

As suspected, the florist shop driver, Joe, is cruising calmly as two motorcycle patrolmen appear behind him, sirens blaring, and several patrol cars follow. Police officers emerge with pointed shotguns and yell at Joe to exit the vehicle and put his hands behind his neck. The officers rough him up, thinking they caught a gang member.

Meanwhile, the three men are in the back of the florist truck inside the van, and Foster holds up four kings from a deck of cards. He tears each card in half and gives a piece to each man. “Hold on to those cards. I got everything covered, but if something goes wrong and I can’t make the payout myself, the cards will identify you to whoever I send with the money … We’ll cut up the money when I think it has time enough to cool off.” A masked Boyd Kane wants his money now and starts to take his mask off until Foster intervenes. “A pat hand only because nobody can rat on you. You can’t rat on each other because you’ve never seen each other without those masks. Foster hands each man a small pile of money while waiting for the big payoff. It seems Foster has thought of everything. Each gang member has a ticket to go to a different foreign country. “Stay there until I wire you to come.”

A heist movie is a subdivision of crime cinema, and this was one of the first and remains one of the best. The lead criminal, Foster, times everything to the second. His planning is meticulous. One florist truck pulls away from the bank while another pulls him, framing poor Joe Rolfe for the crime. The outlaw truck pulls alongside the armored vehicle precisely at the time the armed guards are returning with the money. The heist takes less than a minute and is over before people realize what happened. When “the heist” in any movie proceeds like a well-oiled chess game and dazzles with its ingenuity, it succeeds. It’s mathematical.

The police are grilling Joe, and many figures are present. He has his boss vouch for him, and the boss comments that Joe never gives him any problems. But then he adds, “But I’m afraid I’ll have to let you go now.” Joe is on probation, having done time for trouble involving a gambling debt, and his probation officer got him his delivery job. Being a model prisoner, serving honorably in the military, and finishing his college studies for industrial engineering at night, Joe does everything right until this frame ruins his reputation. “They can’t buy you a cup of coffee,” referring to his Bronze Star and Purple Heart. The police Captain Andrews (Howard Negley), looking at a pretty hefty payment, offers Joe a percentage of his payout for a lead, which Joe can’t provide since he’s innocent. The investigation winds down as the cops prepare to question Joe. One swears to his superior that he will have a confession by morning, but the prisoner never cracks. Beaten several times, Joe is finally released after the police find deserted Western Florist suits in a florist vehicle inside the moving van. McBride still wants to sweat out a confession, but his superior says, “All right, Rolfe, you can go. Sorry I had to detain you,” to which he answers, “You’re sorry! Thanks … for nothing!!!”

Asking for any leads of people who might have framed him, two friends tell Joe that Pete Harris recently went to Tijuana, Mexico, and you can easily find him by his trail of cigarettes. One store owner gives the money in the register to Joe. When Joe exits the small restaurant, the other man asks, “So that’s the guy that saved your life in the war.” The man shakes yes.

Joe Rolfe gets an affable taxi driver in Tijuana to show him where outlawed gambling occurs. He usually watches these joints and leaves, but at the last spot, he notices a canister of cigarette butts that points to Pete Harris. Joe borrows a lighter from the distressed-looking Harris and walks away. Both men end up at the same craps table, and Joe says to him, “Twenty dollars if you don’t hit!” Fortunately, it’s a lucky night for Harris, but Rolfe keeps the bets coming. A serious-looking man gets Harris to leave the table, telling him it’s 10:30 p.m. The other man recognizes Rolfe, but Harris says, “He gives me the willies; he doesn’t smell right.” Harris points a gun at Rolfe as he exits the game through a long alley. “Okay, wise guy, you found me. Now what? You’ve been giving me the fisheye all night.” Joe accuses Harris of being sick, and he should take a break while staring into Harris' face and walking away, with Harris still aiming the gun at him.

Harris receives a telegram, which he quickly puts in his coat pocket, as the doorbell rings. Opening it, Joe Rolfe bursts in and overpowers Peter, taking his gun. “I’m the guy who drove a florist truck. Take a good look, Pete! You’re looking at the pasty who was framed for the kill.” Looking nervous and afraid, Pete says, “You got the wrong guy.” Pete slips a small knife out of his coat as Joe examines his luggage, but he sees the weapon in time, slapping Pete again. Joe finds a mask and is convinced Pete is a gang member. Joe opens Pete’s wallet to find a telegram, half a king playing card, and a plane ticket. But Pete still claims to know nothing. But when Joe mentions going to the cops, Peter spills details of the heist. Finally, Joe demands the split go five ways, including him. “Go ahead, hang yourself. It will be a pleasure!” Jack Elam’s energy, fearfulness, and outbursts display his bravura performance in this sequence. Joe tells Harris he will be coming along on the plane to Borados. But when Joe is purchasing his plane ticket, three undercover cops recognize Pete Harris, causing the always nervous man to draw his gun, shot in a hail of gunfire, dying trying to speak of the heist and his “partner,” Joe.

Tim Foster, in Barbados, talks to an old friend, Police Captain Scout Andrews, about Foster’s bitterness about getting “his walking papers” after serving 20 years on the police force, and, ironically, his daughter will be a lawyer any day soon. Foster asks about the Southwest bank job that has yet to be solved. And Foster adds, “How’d you like to crack that job?” Andrews responds, “How would I like to find oil in my backyard?” The police hierarchy is applying pressure to solve the case. Foster then gives a tip to Andrews: “I have been watching a couple of strange characters that have drifted here one at a time. Does the name Boyd Kane mean anything to you?” Andrews, it turns out, is trying to indict him for a jewelry store holdup. He asks who else? Foster continues, “A prize package named Tony Romano should fit like a touch to that bank job.” Then Andrews asks, “But there are supposed to be three of them?” Foster continues, ‘That’s where it begins to make sense. The third one is due to arrive. They are talking about a money split, big money … it could have come out of that Southwest bank job.” Andrews smiles and declares, What a sweet break!” Andrews adds that the insurance reward money is over a quarter million.”

Second-billed Helen Foster (Coleen Gray) unexpectedly appears in the film at 47 minutes. She arrives in a car accompanied by Joe Rolfe. Why she is billed so high is a mystery for a second, but then we realize she is the only female lead. While the rest of the cast are “B” actors or actors past their prime, she is the only “A” actor in the cast and was probably offered the role for box office appeal. John Payne is introduced to the hotel staff as a guest. Surprisingly, Foster mingles with the ever-present Boyd Kane and Tony Romano, all waiting at the hotel, not knowing Peter Harris is dead. Joe goes to his room, and Helen thanks him for the company. Boyd looks at Rolfe as though he may be the third gang member. Boyd and Romano look at the guest sign-in log, and “Pete Harris” appears.

Later, while parking his vehicle, Helen spots her father and warmly greets him with hugs and kisses. She tells him that she has important news, “Being a law student has its advantages … I set up a brief and brought it to the man himself … I got the commissioner to reopen your case. Don’t you understand, Dad? It’s a chance to get back on the force.” Looking glum, Tim says, “Forget it, it’s too late. I don’t want to get back on the force.” Helen responds, “Oh, now look, Dad, this is your daughter, Helen, don’t fool me! I know what it's like to be forced into retirement due to politics. This is your chance to come back. You’re not willing to let pride get in the way.” She tells her father she’s taking a week’s vacation and getting to know the man who just signed in, Pete Harris.

The hotel guests waste their time playing poker, and of course, the gang and Joe are there; before Joe leaves the table for the night, he opens his wallet to pay up and drops his half-king card on the table, immediately picking it up, “My good luck piece. Souvenir of the biggest pot I ever sat in on … don’t let me break up the game.” The gang notices, especially Foster, who knows the exiting player is not Pete Harris.

In a primarily dialogue-free sequence, Joe goes to his hotel cottage, plants his Pete Harris mask underneath his clothes in a dresser drawer, and waits outside. Tony Romano leaves the poker game and sneaks around to Joe’s bungalow, searching the place. He finds the hidden mask and telegram. Meanwhile, snooping Joe sneaks back inside his bungalow and surprises Tony, punching him and asking, “What’s the idea of messing up my joint?” I didn’t mean nuthin’. I figured you meant to give me the offer when you dropped that card on the table … What’s with you, chump?” Tony responds, “It doesn’t take any good thinking to figure a couple of guys like us aren’t in this Bananaville on a vacation.” Tony goes for his wallet to show his half-king playing card, and Joe plays along like a gang member. Joe apologizes for roughing up Tony. Foster spies on his men while receiving a telegram that the actual Pete Harris was shot dead.

The following morning, while meeting Helen for a swim, Joe is called away by Tony, and as he leaves, he drops his pistol, which is immediately found by Helen, who is now suspicious of him. When Joe enters his bungalow, he is attacked by Boyd and Romano. Joe is holding his own against the two thugs until Boyd, from behind, strikes him in the head, knocking him unconscious. But Joe is soon roused back to consciousness and roughed up some more. “I’ll pinpoint it for you, chum. Pete Harris and I did a duo together at Jolliet. That makes you a phony.” When the boys intend to take Joe for a long walk, Helen knocks at the door to fetch him back and return his gun. Glumly, the boys leave. Joe smiles at Helen, “Nice guys, playful.” Helen looks serious and tells Joe not to make up any stories for her and leaves. She senses he is in some trouble.

Foster is alone on a yacht, storing all the money from the bank job in a locked cupboard. He writes a note to the gang to meet at the docked boat Manana tomorrow. He has a letter and a half-king card for every gang member, including Pete Harris. When all the boys receive their letters, Joe excuses himself from the table while dining with Foster and Helen. Soon, Romano gets the drop on Joe, holding a gun to his back, mentioning that they will see Boyd together. Joe quickly maneuvers and gets the gun from Tony, keeping his body directly in front of him with his gun at his neck. Boyd appears with a pistol, obviously to shoot Joe, but the situation changes. Joe, who digs his weapon into Ramano’s neck, forces Boyd to throw his pistol into the well, releasing Ramano. Joe explains the new scenario. He is cutting himself in for Pete’s share, telling the boys he’s the driver who was framed for the bank job and deserves a cut. “And if you get any ideas of visiting me later … I sleep light!” Joe utters. Joe breaks into a cold sweat as the boys leave, terrified of what happened. Walking home, Joe soon confronts Helen, who asks if he’s in trouble. Joe attempts to scare her off to protect her by being mean, but she's not deterred; she vows to help him.

Foster calls Captain Andrews and arranges for him to board the yacht where the gang expects payoffs. It’s a frame so that Foster can keep all the money. After returning home and unlocking the money cupboard on board the yacht, he confronts a troubled Helen, who wants her dad to help her boyfriend, Pete. Foster warned her in the past to stay away from him; now, he tells her that he is an ex-con. Helen knows there's more to the story, but her father continues to make demands without explanation. Helen storms out of the room.

The following day, each gang member prepares for the payoff, prepping their guns and looking grave. Joe sees Boyd and Romano lurking in the bushes, obviously intending to ambush him. So he sneaks up behind them with a cocked gun and gets the draw on them, but Romano makes a bold move and gets the jump on Joe, but he hostlers his weapon when Foster, the unknown gang leader, appears in his truck. He offers the men a ride to the pier. Joe sits in the front with Foster, Romano, and Boyd, making threatening gestures from the back seat. Foster drops them off at the Manana while signaling Andrews with his spotlight. The boys aboard the yacht make another play for Joe, but he escapes by burning Romano with a hot cigarette butt, hiding inside the cabin with the money. Breaking down the door, Boyd yells to freeze, guns pointed at Joe.

While Boyd is on deck, he attempts to turn Romano against him by first showing him the money (Van Cleef looks like a kid in a candy store) and suggesting a two-way cut. As Boyd enters the cabin, he is immediately shot dead by turncoat Romano, who in turn suggests a one-way split, rage on his face as Foster quietly descends the steps with a gun pointed at Romano. Foster holds his gun on Joe and Tony as he awaits the police. Joe realizes Foster set Pete up, knowing he can’t spend the stolen bank cash but can spend the reward money. Focusing on Joe, Pete makes a move and shoots Foster. Joe and Tony erupt into a fight to the death, and Foster reawakens to shoot Tony in the back. A dying Foster says it would be better if Helen didn’t learn about this. As Andrews and his men enter, Foster says, “His lead turned the trick. Only it didn’t turn out the way we had planned it. You did it, Joe!” He tells Andrews the third guy, Pete Harris, was killed in Mexico and that Joe deserves all the reward money. Then Foster swoons. Andrews later tells Helen that Joe is a good boy, and Tim’s last words were to send his love to her. She smiles. The movie ends with Helen and Joe kissing.

Kansas City Confidential is only a borderline film noir, more of a crime thriller or heist film that would inspire many others. It taunts us as it plays out, allowing character types to dominate this tight screenplay. Phil Karson’s razor-sharp direction, like a jigsaw puzzle with all pieces fitting together, makes this a thriller to recommend highly.

PETE HARRIS (JACK ELAM) SPORTS NERVOUS ENERGY, ROVING EYES, AND A DEADLY FEAR OF EVERYTHING.

TONY ROMANO (LEE VAN CLEEF) IS FASHIONABLE, ATTRACTED TO THE LADIES, HAS A SENSE OF HUMOR, AND IS DEADLY.