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The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Highly effective noir thriller with top performances from Cornel Wilde and Richard Conte. The latter is, of course, the big baddie but Wilde is a surprisingly ruthless cop with an agenda. Conte is almost frighteningly violent in both words and action, at the same time presenting such a charming front but Wilde is almost up there and certainly much more street wise than some cops in noir films. Jean Wallace is also very effective as the love interest for both men, although the cop is not beneath skipping out for a bit on the side while he waits. Excellent b/w photography and a good tale well told with splendid hard boiled dialogue.

THE BIG COMBO is a rather late entry in the film noir genre but one that still packs a punch due to some violent plot twists and adult material. The storyline sees dogged police lieutenant Cornel Wilde going up against gangster kingpin Richard Conte in a battle to the finish, with various innocent parties, femme fatales, and brutal henchmen getting involved along the way.It's well-paced stuff indeed, and has atmosphere to spare especially when the fog comes down for some key moments. Really, though, this is the kind of film which works due to the efforts of the cast. Wilde is the solid lead but it's the villains who really shine in this one. Conte has never been slimier and makes for a frightening screen presence, and a delightfully icy Lee Van Cleef makes a meal playing one of his henchmen who may or may not be a homosexual. Then there's a meaty supporting role for Professor Quatermass himself, Brian Donlevy, playing Conte's old-time ally, and Jean Wallace is fine as the caught-up love interest.THE BIG COMBO works well by playing with genre tropes and offering a little more originality than the viewer is used to. There's one of the more unusual torture scenes I've seen in a film involving a hearing aid, while the climax thankfully sees the heroine of the piece using her brain for once rather than just sitting back and simpering at the men folk doing their thing.

Michael Neumann offers a very concise summary ("hard-boiled crime melodrama", Michael Neumann from United States, 7 November 2010) that is all a person needs before deciding to see it. In addition, ChristophCinema discusses the villain/protagonist relationship and says this is why the Big Combo works ("Should not be overlooked", ChristophCinema from United States, 19 December 2012) .I also enjoyed Robert Temple's background on (erratic) Jean Wallace ("Quite a combo", robert-temple-1 from United Kingdom, 13 September 2012). And, don't miss Terrell-4's praise of the exquisite cinematography ("John Alton's cinematography is a classic noir example...", Terrell-4 from San Antonio, Texas, 2 February 2008).Even by contemporary standards, The Big Combo (1955, directed by Joseph H. Lewis), achieves a level of tension that makes it essential viewing for fans of the film noir canon. This is a "B movie" with rather minimalist direction, but is very interesting to look at because of the skillful lighting. (Lewis is content to set up an establishing shot and hold it at length. This requires the actors to directly face the audience at length, which they often do here. If it weren't for the excellent lighting, it is doubtful this visual approach would have succeeded.) Cornell Wilde plays the obsessed and hardboiled police Lieutenant Diamond who spends most of his waking hours trying to bring down a mob kingpin. (Yes, it is hard to imagine police this dedicated today.) Richard Conte is the sadistic, misogynist and slick-talking mobster Mr. Brown. Despite their nearly limitless mutual loathing, there are strong narrative parallels between the detective and the mobster. One could say they are alter-egos.Jean Wallace (Susan Lowell) is very good as Mr. Brown's depressed girl who is on the verge of a nervous breakdown her entire time on the screen. Mr. Brown's three henchmen are all very interesting. Brian Donlevy is washed-up, shoulda-been-boss Joe McClure who tries to take over the gang. Lee Van Cleef (Fante) and Earl Holliman (Mingo) are vicious but not terribly bright hit men. (Cultural warning: There is a scene where both say lines that are such obvious references to homosexuality it is unintentionally funny today.) "First is first, and second is nobody". Mr. Brown says this repeatedly. His axiom of power resonates in these dark times. If you're a fan of film noir, don't miss "The Big Combo."

The Big Combo was nothing extraordinary, the run of the mill Film Nior/ Gangster flick with dark lighting (this film actually played with lighting which made it enjoyable and is one of its stronger points), harsh noises, and quick movement. It was no surprise to me that this film lacked depth or interest in the story as it followed a predictable format. There were a few interesting parts throughout the film, but it was the acting that kept my attention. Cornel Wilde and Jean Wallace do not break character once despite their many roles as they try to please the others and deal with the conflicting relationship they share. These two may have been impressive, but it was Richard Conte who rose above and beyond portraying his character with perfection, convincing the audience he was a true mobster. Although I got a little lost throughout the film the thrilling sexual and actions scenes kept me tuned in. The ending especially grabbed my attention with the combination of lighting, film work, and excitement. However I would not particularly recommend this film to anyone unless the film would fulfill some type of requirement or guideline they were searching for.