The movie is fueled by that Mitchum/Greer chemistry, plus high speeds, resort wardrobe, wry looks, and the Out of the Past memories of movie audiences. Greer brandishes a gun again, just as in that seminal sequence in Out of the Past. Mitchum has a desperate fistfight, just as in Out of the Past. All of this retreading is supported by visually helpful location shooting in Veracruz and other areas of Mexico. The end result is a pleasant little chase film that’s even comical at times. Or maybe the laughs came from our dark senses of humor. For example, you know how car pursuits sometimes go right through flocks of chickens, but the chickens never get hurt? In this movie one actually gets run over—at least if the numerous feathers drifting in the car’s wake were any indication. That really amused us. Also nearly flattened were goats, a few cows, mules, children, and middle-aged ladies. In fact, all the near misses felt like a running gag about how Americans are always in a hurry.
Other aspects of the movie are equally tongue-in-cheek, including Mitchum’s ugly-American stabs at Spanish, but however lightweight this is at times, in the end it’s still categorized as a thriller, which means it needs to make pulses race. We wouldn’t say it fully achieves that requirement, but it isn’t bad either. Mitchum gonna Mitchum, and that’s all a studio needed at this moment in time to make a movie work. He’d go on to headline Where Danger Lives, Angel Face, and a long string of good-to-middling dramas and noirs, all the way up to his other cinematic monuments, 1955’s The Night of the Hunter and 1962’s Cape Fear. The Big Steal is an okay flick, but its true value may be that it shows what the Mitchum charm can do for material that doesn’t even deserve him. It premiered in the U.S. today in 1949.
