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<nowiki>{{for|films named Heist|Heist (disambiguation)#Films}}</nowiki><br/>
<nowiki>{{multiple issues|</nowiki><br/>
<nowiki>{{Refimprove|date=August 2007}}</nowiki><br/>
<nowiki>{{unreferenced|date=December 2014}}</nowiki><br/>
<nowiki>{{expert-subject|date=December 2014}}</nowiki><br/>
<nowiki>}}</nowiki><br/>
The '''heist film''' is a [[subgenre]] of the [[crime film]]. It focuses on the planning, execution, and aftermath of a theft. Versions with dominant or prominent comic elements are often called '''caper movies'''. They could be described as the analogues of [[Caper story|caper stories]] in [[History of film|film history]]. A typical film includes many [[Plot twist|plot twists]], with the focus on the characters' attempts to formulate a plan, carry it out, and escape with the goods. Often a [[Archenemy|nemesis]] must be thwarted, who might be either a figure of authority or else a former partner who turned on the group or one of its members.<ref>{{Cite book|title=The heist film: Stealing with style|last=Lee|first=Daryl|publisher=Columbia University Press|year=2014|isbn=|location=New York|pages=}}</ref> Here is my edit

== The archetypical plot ==
{{unreferenced section|date=June 2012}}
Usually a heist film will contain a [[Three-act structure|three-act]] plot. The first act usually consists of the preparations for the heist: gathering conspirators; learning about the layout of the location to be robbed; learning about the alarm system; revealing innovative technologies to be used; and, most importantly, setting up the plot twists in the final act.{{citation needed|date=December 2014}}

The second act is the heist itself. With rare exception, the heist will be successful, although some number of unexpected events will occur.{{citation needed|date=December 2014}}

The third act is the unraveling of the plot. The characters involved in the heist will be turned against one another or one of the characters will have made arrangements with some outside party, who will interfere (often a wise, underestimated detective). Normally, most of or all the characters involved in the heist will end up dead, captured by the law, or without any of the loot; however, it is becoming increasingly common for the conspirators to be successful, particularly if the target is portrayed as being of low moral standing, such as [[Casino|casinos]], [[Temptation|corrupt]] organizations or individuals, or fellow criminals.{{citation needed|date=December 2014}}

As an established archetype, it became common, starting in the 1950s, to excise one or two of the acts in the story, relying on the viewers' familiarity with the archetype to fill in the missing elements. ''[[Touchez pas au grisbi]]'' and ''[[Reservoir Dogs]]'', for example, both take place largely after the heist has occurred.{{citation needed|date=December 2014}}

Examples of heist films that take place non-linearly: ''[[The Killing (film)|The Killing]]'' ([[1956 in film|1956]]); ''[[Gambit (1966 film)|Gambit]]'' ([[1966 in film|1966]]); and ''[[Reservoir Dogs]]'' ([[1992 in film|1992]]).{{citation needed|date=December 2014}}

== History ==
[[File:1963_Austin_Mini_Cooper_from_The_Italian_Job.JPG|thumb|[[Mini Cooper#Mini Cooper and Cooper S: 1961.E2.80.932000|Austin Mini Cooper]] from ''[[The Italian Job (1969 film)|The Italian Job]]'']]
Throughout the 1930s, thievery and scams were present in such films as ''[[Raffles (1930 film)|Raffles]]'', ''[[Outside the Law (1930 film)|Outside the Law]]'', ''[[The Unholy Garden (1931 film)|The Unholy Garden]]'' and ''[[Ninotchka]]''. The classic ''[[film noir]]'' period of the 1940s and 1950s brought the genre to fame, by focusing more explicitly on the heists themselves, with such films as [[John Huston]]'s ''[[Asphalt Jungle]]'', [[Jules Dassin]]'s ''[[Rififi]]'', [[Jean-Pierre Melville]]'s ''[[Bob le flambeur]]'' and ''[[Le Cercle Rouge]]'', [[Stanley Kubrick]]'s ''[[The Killing (film)|The Killing]]'' or [[Mario Monicelli]]'s ''[[Big Deal on Madonna Street]]''. Since that time caper movies have been shot in many variations, ranging from light-hearted folly of the 1960s classic like ''[[It's a Mad, Mad, Mad, Mad World]]'' with its cast of clowns led by [[Jonathan Winters]] and the British made ''[[Crooks and Coronets]]'' to darker, more challenging treatments introducing innovative ways of craftsmanship, such as [[Quentin Tarantino|Quentin Tarantino's]] ''[[Reservoir Dogs]]'' or [[Christopher Nolan|Christopher Nolan's]] ''[[Inception]]''.{{citation needed|date=December 2014}}

Even to contemporary [[Hollywood]], the genre still remains promising, as the [[Remake|remakes]] of ''[[Ocean's 11]]'' (2001, as ''[[Ocean's Eleven]]'') and ''[[The Italian Job]]'' ([[The Italian Job (2003 film)|2003]]) show. Examples of the variety of directions the heist film can take would include the comedy heist film such as ''[[Topkapi (film)|Topkapi]]'', the western heist film such as ''[[The War Wagon]]'', the war/heist film such as ''[[Kelly's Heroes]]'', numerous spy movies and television programs which had heist-like plots, most notably ''[[Mission: Impossible]]'', ''[[It Takes a Thief (1968 TV series)|It Takes a Thief]]'' and ''[[Leverage (TV series)|Leverage]]'', and recently a sci-fi heist film combination with ''[[Robot & Frank]]''.

== Examples of heist films ==

{| class="wikitable sortable"
! Film title 
! Year of release 
! Distributor
|-
| ''[[Rififi]]'' 
| 1955 
| [[Pathé]]
|-
| ''[[The Killing (film)|The Killing]]'' 
| 1956 
| [[United Artists]]
|-
| ''[[Ocean's 11]]'' 
| 1960 
| [[Warner Bros.]]
|-
| ''[[Topkapi (film)|Topkapi]]'' 
| 1964 
| United Artists
|-
| ''[[Gambit (1966 film)|Gambit]]'' 
| 1966 
| [[Universal Pictures]]
|-
| ''[[Grand Slam (1967 film)|Grand Slam]]'' 
| 1967 || {{N/A}}
|-
|''[[Who's Minding the Mint?]]''
|1967
|[[Columbia Pictures]]
|-
| ''[[The Thomas Crown Affair (1968 film)|The Thomas Crown Affair]]'' 
| 1968 
| United Artists
|-
| ''[[The Italian Job]]'' 
| 1969 
| [[Paramount Pictures]]
|-
| ''[[Le clan des siciliens]]'' 
| 1969 
| [[20th Century Fox]]
|-
| ''[[The Brain (1969 film)|The Brain]]'' 
| 1969 
| Paramount Pictures
|-
| ''[[Kelly's Heroes]]'' 
| 1970 
| [[Metro-Goldwyn-Mayer]]
|-
| ''[[$ (film)|$]]'' 
| 1971 
| [[Columbia Pictures]]
|-
| ''[[The Hot Rock (film)|The Hot Rock]]'' 
| 1972 
| [[20th Century Fox]]
|-
| ''[[The Getaway (1972 film)|The Getaway]]'' 
| 1972 
| [[National General Pictures]]
|-
| ''[[The Sting]]'' 
| 1973 
| Universal Pictures
|-
| ''[[The First Great Train Robbery|The Great Train Robbery]]'' 
| 1979 
| United Artists
|-
| ''[[Going in Style]]'' 
| 1979 
| Warner Bros.
|-
| ''[[Reservoir Dogs]]'' 
| 1992 
| [[Miramax]]
|-
| ''[[Heat (1995 film)|Heat]]'' 
| 1995 
| Warner Bros.
|-
| ''[[Entrapment (film)|Entrapment]]'' 
| 1999 
| 20th Century Fox
|-
| ''[[The Thomas Crown Affair (1999 film)|The Thomas Crown Affair]]'' 
| 1999 
| Metro-Goldwyn-Mayer / United Artists
|-
| ''[[The Score (2001 film)|The Score]]'' 
| 2001 
| Paramount Pictures
|-
| ''[[Ocean's Eleven]]'' 
| 2001 
| Warner Bros.
|-
| ''[[Heist (film)|Heist]]'' 
| 2001 
| Warner Bros.
|-
| ''[[The Italian Job (2003 film)|The Italian Job]]'' 
| 2003 
| Paramount Pictures
|-
| ''[[Ocean's Twelve]]'' 
| 2004 
| Warner Bros.
|-
| ''[[Inside Man]]'' 
| 2006 
| Universal Studios
|-
| ''[[Ocean's Thirteen]]'' 
| 2007 
| Warner Bros.
|-
| ''[[The Bank Job]]'' 
| 2008 
| [[Lionsgate Films]]
|-
| ''[[Mad Money (film)|Mad Money]]'' 
| 2008 
| [[Overture Films]]
|-
| ''[[Takers]]'' 
| 2010 
| [[Screen Gems]]
|-
| ''[[Inception]]'' 
| 2010 
| Warner Bros.
|-
| ''[[Fast Five]]'' 
| 2011 
| Universal Pictures
|-
| ''[[Tower Heist]]'' 
| 2011 
| Universal Pictures
|-
| ''[[The Thieves]]'' 
| 2012 
| [[Showbox]]
|-
| ''[[Now You See Me (film)|Now You See Me]]'' 
| 2013 
| [[Summit Entertainment]]
|-
| ''[[Lupin III (film)|Lupin III]]'' 
| 2014 
| [[Toho]]
|}

== References ==
{{reflist}}

== External links ==

{{Crime fiction}}
{{Film genres}}

[[:Category:Heist films| ]]
[[:Category:Film genres]]
[[:Category:Films about criminals]]
[[:Category:Thriller genres]]
[[:Category:Thrillers]]
[[:Category:Suspense]]