High School Big Shot
"The kid who showed the big time how!"
Plot
Marvin 'Marv' Grant is a brilliant but socially isolated high school senior whose dreams of a college scholarship are his only escape from a life of poverty and his father's chronic alcoholism. His future is derailed when he falls for Betty Alexander, a manipulative classmate who feigns romantic interest solely to coerce him into writing her English term paper. When their teacher discovers the deception, Betty is failed and Marv's crucial scholarship recommendation is revoked, leaving him desperate and embittered. Seeing no other path to provide for his father and win back the gold-digging Betty, Marv uses his genius-level intellect to master-plan a million-dollar heist at the shipping warehouse where he works. The plan spirals into a violent tragedy as betrayal from Betty's real boyfriend and the intervention of professional criminals lead to a series of grizzly deaths and the total destruction of Marv's world.
About the Production
The film was produced by Stanley Bickman and executive produced by Roger Corman, serving as one of the first releases for Corman's new distribution company, The Filmgroup. It was originally filmed in 1958 under the working title 'Blood Money' before being retitled for its 1959 release. The production was a 'quickie' shoot, typical of the era's exploitation cinema, designed to fill the bottom half of drive-in double features. It was paired with 'T-Bird Gang' (1959) for its theatrical run.
Historical Background
Released in 1959, the film arrived at the tail end of the 'Juvenile Delinquent' (JD) film craze of the 1950s. This genre was fueled by post-WWII anxieties regarding rebellious youth, rock and roll, and the breakdown of the nuclear family. While many JD films were sensationalist and moralizing, 'High School Big Shot' leaned into the 'Teen Noir' subgenre, reflecting a growing cynicism in American independent cinema as the decade closed. It also reflects the economic realities of the time, highlighting the desperation of the working class and the lack of social mobility for gifted but poor students.
Why This Film Matters
While not a mainstream hit, the film is significant as an early example of the 'heist' genre being applied to a teenage protagonist. It subverted the typical 'misunderstood youth' trope by making the protagonist a genuine criminal mastermind, albeit one driven by tragic circumstances. Its inclusion in 'Mystery Science Theater 3000' gave it a second life in cult cinema circles, where it is often discussed for its unusually dark tone compared to its contemporary 'beach party' or 'hot rod' peers.
Making Of
The production was a hallmark of Roger Corman's early efficiency. Corman reportedly financed the film because he was impressed by Tom Pittman's acting ability, seeing him as a potential rising star in the vein of James Dean. The film was shot on a shoestring budget using many of the same crew members Corman utilized for his own directorial efforts. Because of the limited budget, many scenes were shot in real locations around Los Angeles with minimal lighting setups, contributing to the film's gritty, noir-like aesthetic. The tragic death of Tom Pittman before the film's release cast a somber shadow over its promotion, as he was considered the production's greatest asset.
Visual Style
The film was shot in black and white by John M. Nickolaus Jr. in a 1.37:1 aspect ratio. It employs a stark, low-key lighting style reminiscent of classic film noir, which helps mask the low production budget and enhances the film's bleak, urban atmosphere. The use of real-world locations like the shipping docks adds a layer of realism often missing from studio-bound B-movies of the era.
Innovations
The film is noted for its efficient use of limited resources, particularly in the staging of the safe-cracking sequence which manages to build genuine tension despite the lack of expensive special effects or elaborate sets.
Music
The score by Gerald Fried is a notable highlight, utilizing a jazzy, brass-heavy sound typical of 1950s crime dramas. The music emphasizes the tension of the heist and the emotional instability of the protagonist, providing a professional polish to an otherwise low-budget production.
Famous Quotes
Harry March: 'I am a thief, not a crook.'
Marv Grant: 'All my life my brains have been sort of a curse. Now maybe I can make it pay off for everybody.'
Betty Alexander: 'I want to throw diamonds and furs in his face!'
Mr. Carter: 'I hope you understand that I'll have to fail you for this, Betty. As far as you're concerned, Marv... I am going to withdraw my recommendation for the scholarship.'
Memorable Scenes
- The classroom scene where Marv and Betty are confronted by their teacher over the cheated term paper, marking the turning point of Marv's life.
- The meticulously planned warehouse heist where Marv's 'genius' is put to the test alongside professional criminals.
- The bleak final sequence where Marv discovers his father has committed suicide while he was attempting the robbery, ending the film on a note of total despair.
Did You Know?
- Lead actor Tom Pittman died in a car accident in October 1958, shortly after filming was completed; the film was released posthumously.
- The film was featured in a 1994 episode of Mystery Science Theater 3000 (Season 6, Episode 18).
- Stanley Adams, who plays the safecracker Harry March, is best known to sci-fi fans as Cyrano Jones, the tribble merchant from the Star Trek episode 'The Trouble with Tribbles'.
- The film's plot structure and heist mechanics are frequently cited by critics as being heavily influenced by Stanley Kubrick's 1956 noir 'The Killing'.
- Director Joel Rapp was the son of Philip Rapp, a well-known radio and television writer (The Bickersons).
- Despite being marketed as a 'juvenile delinquent' film, it features a surprisingly bleak and nihilistic ending where almost every major character dies or faces total ruin.
- The film's score was composed by Gerald Fried, who later became a prolific television composer for series like 'Star Trek' and 'The Man from U.N.C.L.E.'
- Virginia Aldridge, who played the femme fatale Betty, had a brief career in the late 50s and early 60s, appearing in 'The Donna Reed Show' and 'Father Knows Best'.
What Critics Said
At the time of release, critics largely dismissed it as a standard B-movie exploitation flick. Modern critics, however, have noted its 'surprisingly gritty' and 'mature' approach to the genre. DVD Drive-In described it as a 'mature approach to the juvenile delinquent subgenre' with 'well-established suspense.' Conversely, some reviewers find the acting (particularly the romance) to be wooden and the low-budget production values distracting, often labeling it 'predictable' despite its dark ending.
What Audiences Thought
Contemporary audiences primarily saw the film at drive-ins as part of a double bill. Today, it is mostly known through the lens of MST3K, where it is enjoyed for its 'hilariously bad' moments—such as the protagonist's overly dramatic 'genius' persona—while still being recognized as one of the more competent and depressing films the show ever covered.
Film Connections
Influenced By
- The Killing (1956)
- Rebel Without a Cause (1955)
- The Asphalt Jungle (1950)
This Film Influenced
- Reservoir Dogs (1992) - (Indirectly through the lineage of the 'failed heist' subgenre)
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Film Restoration
The film is in the public domain. It has been released on various budget DVD collections and was restored/remastered for its release as part of the MST3K Shout! Factory DVD sets.