The Thomas Crown Affair

Tags

1960's, Caper, Crime, Faye Dunaway, Jack Weston, Norman Jewison, Paul Burke, Steve McQueen, The Thomas Crown Affair

Film Title

The Thomas Crown Affair

Director

Norman Jewison

Starring

• Steve McQueen as Thomas Crown
• Faye Dunaway as Vicki Anderson
• Paul Burke as Detective Eddie Malone
• Jack Weston as Erwin Weaver

A super stylish crime caper brimming with verve and visual flourishes, The Thomas Crown Affair may occasionally lack depth but that is more than made up for in the lightness of foot and sexy but conflicted chemistry between stars Steve McQueen and Faye Dunaway.

Thomas Crown is a suave and dashing business tycoon, who boasts wealth that many would simply die for. Though he has everything he could possibly ask for, he craves adventure and is now bored with the system of riches that he is a part of. So he carefully plots a bank heist, even though he doesn’t have any need for the money. He employs five men to orchestrate this elaborate scheme, making sure that his identity is left unknown to them to avoid any trace back. The plan works and the heist is a success, with Thomas thrilled with the results. Thomas is very pleased with what he’s accomplished, knowing that his plan is pretty much airtight for the most part. Yet those who were affected by the theft are not going to be quiet and soon questions are being raised. Insurance investigator Vicki Anderson, who always gets the job done, is called in to examine this theft and piece it together. Her incentive is 10% of the and with her array of charm, allure and intelligence she manages to pinpoint Thomas as the culprit. But rather than just take him in, Vicki finds herself attracted to the beguiling and wily Thomas. Both know that the other is up to something and yet this doesn’t distract them from falling into passionate clinches with each other. It does however throw a spanner in the works for them as loyalties are severely tested and their affair is proving difficult as well as compromising. The question is, how willing is Vicki ready to look the other way because of her feelings for Thomas or how much will her personal pride and efficiency take control?

Norman Jewison has that cinematic touch and eye for visual impact that this film and needs and forms the backbone of it with a deft clockwork like precision. The use of split screen pushes the movie along with free abandon and lively verve, that keeps the attention for a very long time. The leads play off each other in a game of questioning the other but being extremely attracted at the same time. indecision and allure, along with the potential of possible courtship, despite them being on opposite sides of the law is what makes the core of The Thomas Crown Affair lively and sexy. The best example of this is the almost wordless chess scene where the two eye each other up and gradually tease the other in a game of minds and bodies. Everything is left to the imagination as they embrace and the camera spins, proving that you don’t need copious nudity to be erotic and can be very naughty by suggestion. Though the story is not exactly what you would call thought-provoking, the quick pace and sizzle of things keeps you involved and along for the entertaining ride. The main selling point of The Thomas Crown Affair is the glamour and intrigue it has. The lifestyle of Thomas is enviable and through bright and very colourful moments of polo matches, it’s a fine life that we view for this man who has everything. A brimming score of skittish rhythms and languid romantic strings is simply gorgeous to listen to. The greatest instance of music in The Thomas Crown Affair is Windmills of Your Mind ,which is a hauntingly romantic and apt song that describes the way that Thomas is constantly on the move and a million steps ahead of everyone. The song won an Academy Award and I can see why, it really contributes to the aura of the film and is utilized gorgeously throughout.

In the title role, Steve McQueen is the suave, epitome of cool and collected. His Cheshire Cat smile and smooth demeanor belie a boredom and restlessness with life( even though he has almost everything a man could dream for). As nonchalant as the character seems, McQueen quietly displays the vast intellect and forward thinking that is often not realized by those around him until it is often too late. The best word for McQueen’s portrayal is cool, he is a man who many guys would kill to be and many women would love to be near. Faye Dunaway is the dogged but ultimately torn foil to McQueen’s charms, her unease at her own feelings for Thomas making most of the drama. Dunaway, while being extremely seductive in the part, brings forth the required determination and inner conflict out in varying degrees of nuance. As I previously noted, the rapport between McQueen and Dunaway is excellent and the Sparks are most definitely there, even as personal feelings come into question and stands must be taken that could jeopardize and further heat between the red-hot duo. Paul Burke does good work as the detective on the case, as does Jack Weston playing the getaway driver in the heist set up by Thomas.

Stylish and intricately done, The Thomas Crown Affair has oodles of appeal through its 60’s atmosphere and scintillating partnership of the main leads that essentially bring out more to the film than the story might suffer to some.

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Ocean’s Thirteen

Tags

2000's, Al Pacino, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Ellen Barkin, Elliott Gould, George Clooney, Matt Damon, Ocean's Thirteen, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Thirteen

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Al Pacino as Willy Bank
• Ellen Barkin as Abigail Sponder
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Elliott Gould as Reuben Tishkoff
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul Bloom
• Shaobo Qin as Yen
• Bernie Mac as Frank Catton

The concluding movie in the classy and cool caper series, Ocean’s Thirteen thankfully returns to the vein of the first movie after going off the boil with Ocean’s Twelve. And thank goodness Thirteen delivers the goods as I was a bit apprehensive of which way this movie could go. I’m happy to report it went in a very slick direction and was an enjoyably breezy affair.

Thirteen begins with flamboyant but lovable businessman Reuben Tishkoff being tricked into signing over his share of a new casino to egotistical Willy Bank. Reeling from the shock, Reuben suffers a heart attack and remains bedridden from the experience. Angered, suave Danny Ocean reconnects the old team; slick Rusty, thief Linus, outrageous Basher, the amusingly feuding Malloy brothers Virgil and Turk, witty Frank, technology guy Livingston, old con man Saul and acrobatic Yen. As revenge on the traitorous Bank, Danny wants to humiliate him on the opening night of his new casino. Formulating a plan to rig the games by infiltrating suppliers so that Bank will be cleared out of money, tarnish his sterling reputation and just about anything else to ruin him, the gang knows that if it is successful justice for Reuben will be done. Yet one part of the plan requires a powerful underground drill to simulate an earthquake and after one attempt, the drill breaks forcing them to rethink. Eventually, though they’re all reluctant to do so, they acquire the service of former enemy Terry Benedict, who can finance them with a new drill and get his own back on old rival Bank. Benedict also wants to steal an extensive diamond collection belonging to Bank which adds even more danger to the complex plan. It’s getting this elaborate plan to flow smoothly that poses the biggest problem, as well as Bank’s eager to please PA Abigail and whether or not Terry will double cross anyone. So will Danny and his merry band of thieves be able to pull of this vengeance fueled plan?

Once more, Steven Soderbergh shows of his flair for panache with inspired direction that utilizes many of the snappy visual tricks he so often likes to use. His use of split screen and overlapping images creates a jazzy and snazzy effect as the revenge plan playfully begins. Las Vegas looks a million dollars and the characters do too, in a film that thanks to Soderbergh’s great devilish eye flows along nicely as mischievous plans and justice is served to Bank for misdeeds. Whereas Ocean’s Twelve went completely overboard with its twists, Thirteen keeps it a bit more simple and largely benefits from not indulging in show off tactics. The plan that Danny and the crew formulate is essentially a complex revenge game, but for the audience it never becomes too complicated to understand as we’re rooting for their plan to work on the dastardly Bank. A wonderful script, filled with wit and hilarity, brings out the fact that the crew isn’t doing this job for a thrill. The job is for something more personal than just money or wealth, proving that there may in fact be honor among thieves after all. There is the added bonus of the chemistry with the cast again and the fact that almost everyone is given something to do, something which Twelve didn’t do so well. You do get a sense of glee watching the guys wreak havoc on Bank, via tricks and disguises, and hit him where is hurts, his money.  All of this fun and amusing antics are backed up by a sizzling score that reverberates with old-school swing and silky jazz riffs. The only real flaw in Thirteen is that it isn’t as good as Eleven, but has oodles of style and wit that put it very close to it and acres above Twelve.

The ensemble cast are clearly having a blast that radiates off the screen with energy and verve. George Clooney is on fine form as the urbane Danny, doing his own brand of justice and revenge with panache and humour. Backing him up is the charms of Brad Pitt as Rusty, who is one of the main brains in the plan to humiliate Bank for crossing the line with Reuben. Matt Damon shows a flair for comedic antics as Linus, who is finally given some credit that he’s fought for so long to get. Watching as he is disguised with a bulbous nose and Bond villain hair and having to woo the efficient Abigail is a real hoot and Damon sells it all the way with hilarious enthusiasm. Sporting a dodgy spray tan and larger than life ego, Al Pacino is at home essaying the persona of the arrogant and morally corrupt Willy Bank, who is going to be hit for all that he is worth by the suave crew. As the lone female in the movie, Ellen Barkin is hugely amusing as the perfectionist PA Abigail, who unwittingly helps the crew in their daring plan after being charmed by a disguised and pheromone infused Linus. Sporting ruthless and oily tics, Andy Garcia is deceptive as the former enemy brought in to help, who may or may not be trustworthy. Don Cheadle exudes an over zealous and flamboyant antics, while Elliott Gould puts his heart into Reuben, whose heart attack puts in motion the revenge for Bank. Casey Affleck and Scott Caan are wonderfully comical as the Malloy twins, particularly in their stint undercover at a Mexican plastics facility where they unintentionally cause the workers to rise up against woeful underpayment. Nervous energy comes courtesy of Eddie Jemison, while sophistication is given by veteran Carl Reiner and athletic prowess from the lithe Shaobo Qin. Out of all the cast, Bernie Mac is unfortunately not given a lot to do which is a shame as his character of Frank is usually a comic highlight and the fact that this was one of Mac’s last film roles before his early death.

So while the first Ocean’s is my favourite, Thirteen manages to capture some of the witty and flashy charm of it and more than make up for the debacle of Twelve. If it’s enjoyment you require, Ocean’s Thirteen more than does the job with sizzling sophistication and proves that thirteen isn’t always an unlucky number.

Ocean’s Twelve

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Catherine Zeta-Jones, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Twelve, Scott Caan, Shaobo Qin, Steven Soderbergh, Vincent Cassel

Film Title

Ocean’s Twelve

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Catherine Zeta-Jones as Isabel Lahiri
• Julia Roberts as Tess Ocean
• Andy Garcia as Terry Benedict
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Casey Affleck as Virgil Malloy
• Scott Caan as Turk Malloy
• Vincent Cassel as Francois Toulour/ The Night Fox
• Eddie Jemison as Livingston Dell
• Carl Reiner as Saul  Bloom
• Elliott Gould as Reuben Tishkoff
• Shaobo Qin as Yen

As a follow-up to the successful Ocean’s Eleven, Twelve is still entertaining in its own way. It just happens to fall short by becoming overly complex and not using the ensemble cast as well as it could. It’s not a complete mess, but it could have been better.

Ever since pulling off their audacious major heist on casino owner Terry Benedict, Danny Ocean and the rest of his crew have been living apart and quietly with their takings. Unfortunately, this state of anonymous bliss is broken( which for smooth talking Danny has included reconciling with his wife Tess) when the angry and well-connected Benedict locates all of them and demands that they pay back the large sum they stole from him plus interest. Assembling the group, who are short of paying their halves of the money, they head to Amsterdam where they are told of a potential heist could take place. The crew has two weeks to repay the ruthless Terry or else things could be fatal for all involved. The hitch of the plan is that there is a gifted, arrogant cat burglar known as the Night Fox who beats them to it, forcing the crew to reconsider something else to steal. Striking an uneasy deal with the slimy Night Fox whose real name is Francois Toulour and a very rich man, the group plans to steal a Fabergé egg that should cover their debt to the vengeful Terry. Another obstacle comes in the shapely and sharp form of Isabel Lahiri, an extremely determined Europol detective who is put on the case and discovers that her former lover Rusty is part of the crew, causing various complications with putting the plan in motion and finally executing it. The question is will Danny and his cohorts be able to successfully do this heist and get the money before it is their necks on the chopping block?

A complex and labyrinthine plot is what makes Ocean’s Twelve a step down as it becomes overly clever and twists too much. And while Steven Soderbergh once again contributes his stylish sense of film making to the proceedings, he can’t make it flow together because of how convoluted the script becomes. Saying that, there are still some killer one-liners and hilarity, but in terms of pacing Twelve drags in comparison with its quick-footed predecessor. I have to compliment the visuals in Twelve which can’t be faulted and put the glamorous locales in glorious colours and mood, not to mention some slick costumes. There is something almost tired about Twelve, like because the first one did well they should make it a bit more complicated, yet this idea doesn’t work that well in theory. This is most apparent in the non-linear structure which works in the very beginning as the story is set up, but then descends into over confidence and confusion. And unlike the first movie that had quite a good bit of tension going on as the merry band of thieves were slipping past danger and averting trouble, Twelve is strangely devoid of the suspenseful heist we witnessed first time around. It is still an audacious heist that they must take part in, but the handling of it feels clumsy at best. A suitably cool score, accented with lively jazz and Rat Pack attitude at least gives Ocean’s Twelve hints of classy caper and adventure.

The starry cast is back with some new additions this time and while many are excellent, the way the script is done leaves many on the sidelines and doesn’t give some characters enough time to make an impression. As always, George Clooney is suave and devilish as main man Danny, who knows that the stakes are high in this heist and how the lives of everyone he cares about are on the line. The same goes for Brad Pitt as the lovable Rusty, whose relationship with Isabel begins to complicate matters that are already mounting. Matt Damon is a hoot as the overly eager and slightly naive Linus, who wants a central role this time and does show his skills to everyone when they get in a jam. Among the newer cast members, the beautiful Catherine Zeta-Jones makes the biggest splash as detective Isabel. Somewhat icy and passionate in her dedication, her resolve gets tested by former lover Rusty coming into the case. Jones makes Isabel a really intelligent character who shares many sparks with Pitt’s Rusty as she tries to anticipate what he and the gang are up to. Julia Roberts has a smaller role as Tess this time around, but has some real humour especially when she is drawn in to help by taking on a disguise that is knowing and a funny in-joke. The rest of supporting cast in Twelve, although talented are given less to do in terms of material, which is very unfortunate because they all added something to the past film with their individual idiosyncrasies and tics. It’s only really Vincent Cassel as the supremely arrogant Night Fox that makes any real impression on the story out of the underused supporting cast.

So while there is obvious style and camaraderie with members of the cast, Ocean’s Twelve falls more than a little flat despite potential.

Ocean’s Eleven

Tags

2000's, Andy Garcia, Bernie Mac, Brad Pitt, Caper, Carl Reiner, Casey Affleck, Comedy, Crime, Don Cheadle, Eddie Jemison, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Ocean's Eleven, Scott Caan, Shaobo Qin, Steven Soderbergh

Film Title

Ocean’s Eleven

Director

Steven Soderbergh

Starring

• George Clooney as Danny Ocean
• Brad Pitt as Rusty Ryan
• Matt Damon as Linus Caldwell
• Andy Garcia as Terry Benedict
• Julia Roberts as Tess Ocean
• Don Cheadle as Basher Tarr
• Bernie Mac as Frank Catton
• Scott Caan as Turk Malloy
• Casey Affleck as Virgil Malloy
• Carl Reiner as Saul Bloom
• Elliott Gould as Reuben Tishkoff
• Eddie Jemison as Livingston Dell
• Shaobo Qin as Yen

A witty, breezy and thoroughly enjoyable caper movie, Ocean’s Eleven is a joy to watch and you’ll be sure as hell smiling by the end of it because of its charm. Loosely based on a 60’s Rat Pack movie, Eleven, as directed by the highly talented Steven Soderbergh mixes an old-fashioned glamour with a contemporary edge to craft a wholly amusing, well-crafted and undeniably slick heist flick.

Cool cat Danny Ocean is released from prison after serving time for theft. Being the suave man of action that he is, he has no desire to becoming a moral citizen. Instead, he has already formulated a crafty plan of his own and soon sets about assembling a team to help him with a heist. But this is no ordinary and simple heist, this is a complex maze that is highly dangerous. Danny wants to hit an underground vault that holds the money from three prominent casinos in Las Vegas, which is heavily guarded and nearly impossible to penetrate. With the help of best friend and card shark Rusty Ryan, the team is recruited for their various skills; Linus Caldwell is a somewhat naive thief who wants to be like his infamous parents, theatrical explosives expert Basher Tarr, inside man Frank Catton, the Malloy twins Turk and Virgil who are expert mechanics, aged but still hanging in there con man Saul Bloom, bankroll Reuben Tishkoff, neurotic technology wizard Livingston Dell and lithe Chinese gymnast Yen. Through careful studying, methodical planning and determination, the plan swings into motion and the stakes are indeed high with $150 million if they can accomplish the audacious heist. Making matters dangerous for the rag-tag group is the casino’s owner Terry Benedict who is a really dangerous guy. There is also the matter of Terry dating Danny’s ex-wife Tess, and Danny still obviously carrying a torch for her that could complicate everything. Can Danny and the rest of the team pull off possibly the most dangerous heist known to man?

Straight off the bat, Steven Soderbergh showcases his talent as a visual director. With stylized cuts as the heist is going on at various parts of the casino and the magic of the bright lights Las Vegas setting, Soderbergh’s direction exudes confidence and slick tactics. He crafts scenes of hilarity that are matched by nail-biting suspense as the plan is executed with danger at every turn for the misfit group. The pacing is stunningly executed and moves along at a briskly which takes you from the opening frame and pulls you into the caper of it all. And while the heist is a huge part of the film, the planning of it is just as much fun to watch, as it is seen from what the group wants to happen and then shown what does actually happen. A whip-smart script brims with amusing one-liners and banter between the characters, particularly Danny and Rusty who make a good double act during parts of Ocean’s Eleven. The script creates such likable characters in the main gang that you want them to succeed in this daring scam of theirs. And as I said earlier, the harking back to old-fashioned capers makes Ocean’s Eleven a cool and witty yarn that is impossible to resist. A smooth score of jazz is the perfect backdrop for the story as motives are planned and hiccups arise, challenging what could be a heist worth millions. To say this movie was enjoyable is to do it a disservice as it is a rollicking good time.

A huge draw for Ocean’s Eleven is the star-studded ensemble cast that have fun with their roles and each shine in their own way, particularly the main team who have superb chemistry with one another. Heading the way is the debonair performance from George Clooney who is the personification of charm and style. With a glint in his eye, suave delivery of lines and a fox-like smile, Clooney is clearly having a blast as the mastermind behind the heist and is perfectly cast in the part. On equally slick form is Brad Pitt, who offers irresistible wit and smarts as card shark Rusty who is the second in command. Matt Damon plays the role of thief Linus very well, constantly capturing his eagerness to prove himself and make the audience relate to him. Andy Garcia nails the part of the slimy and very dangerous Terry, who becomes increasingly angered as he realises that his casino and money is being targeted. Julia Roberts as the main woman in the film shows that it isn’t just the boys having fun, as she plays the suspicious and glamorous Tess, who can’t deny that she is in love with Danny despite the pain he’s caused her. Despite the dodgy attempt at a cockney accent, Don Cheadle is a hoot as the sometimes crazy Basher who specialises in explosive devices and is prone to exaggeration, while Bernie Mac is a blast as the inside man on the case. Scott Caan and Casey Affleck have fun portraying the Malloy twins, who are in almost constant arguments and scrapes with one another. Carl Reiner as the still determined but aging con man and Elliott Gould as the financier of the mission both provide their sterling credentials to Ocean’s Eleven. As computer whiz and panicky guy Livingston, humour comes from Eddie Jemison and then there is the acrobatic frame and grace provided by Shaobo Qin as the flexible Yen.

Executed with wit and vigour, Ocean’s Eleven is engaging from start to finish due to awesome direction, humorous script and cool work from the cast.

 

Duplicity

Tags

2000's, Caper, Clive Owen, Denis O'Hare, Duplicity, Julia Roberts, Paul Giamatti, Romance, Spy, Tom Wilkinson, Tony Gilroy

Film Title

Duplicity

Director

Tony Gilroy

Starring

• Clive Owen as Ray Koval
• Julia Roberts as Claire Stenwick
• Tom Wilkinson as Howard Tully
• Paul Giamatti as Dick Garsik
• Denis O’Hare as Duke Monahan

A devilish romantic spy caper, Duplicity is bolstered by the star appeal of Clive Owen and Julia Roberts. And while enjoyable and witty, it become too convoluted and complex for its own good, that seriously leaved you feeling a bit duped by the end. Still it does have a lot to be enjoyed, it just thinks it’s cleverer than it is.

Ray Koval and Claire Stenwick are both former agents; him for MI6 and her for the CIA. They now work as corporate spies for two rival companies, headed by the smart Howard Tully and the over exaggerated Dick Garsik who are constantly in competition and trying to get one up on the other. The thing is that Ray and Claire both have a past together romantically, as we see in flashback when their cases have crossed over the years. Yet both of them have a mutual distrust for one another because of the spy business and the playing of each other during these various encounters around the globe. Now, they both have a plan to con their respective companies for some major new product that could be super lucrative for each of them. This con that they plan to pull is extremely complex and tense as it could go very wrong if someone is caught. But with unease over trust and double crosses along the way in this dangerous game, who is playing who and will Ray and Claire’s personal feelings of sparky romance get in the way of the job in hand?

Now it must be said that Tony Gilroy contributes stylish direction Duplicity. Through split screens and visuals, he crafts an atmosphere laced with deception and humour. There is a lightness to his direction that ties in with the caper aspects of the tale. His script is slickly written and contains many a great scene of romantic banter and innuendo along the way. The wit is a clear highlight of the movie as it crackles between Ray and Claire whose relationship is mutually distrustful and doubting. Though I’m a big fan of twists, Duplicity ultimately goes overboard with them. Yes some of them come off as effective, but there really wasn’t any need for so many as it causes the film to feel cluttered. What should have really been a breezy film with a couple of double crosses becomes something of a muddled mess that could have been trimmed down. On a technical side, Duplicity at least looks great and has that old-fashioned feel of a caper from the 50’s or 60’s. A jazzy score, punctuated by exotic waves romance and cool suspense, manages to keep interest even when the story gets out of hand.

Despite the complicated nature of Duplicity, the cast assembled shines and brings a sense of credibility to it. Clive Owen does the smooth-talking, handsome guy shtick very well while bringing dashes of dry humour to the character of Ray. The chemistry he shares with Julia Roberts is electric and filled with sexual tension as the two dance a tango of uncertainty and passion. Julia Roberts also walks away with a great performance as Claire, who is smart, efficient and can be very calculating when it comes to the business.Tom Wilkinson and Paul Giamatti as feuding business heads have a clear hoot here and their distinguished presence is felt in the scenes in which they are present. The two guys are real gems of the supporting cast and their slow motion fight that covers the opening frames is comedic fare to say the very least. Denis O’Hare is on great form as another corporate spy involved with the dangerous game of cat and mouse at stake.

So it may be a slickly done spy film and boast some very engaging performances, I just wish that Duplicity hadn’t tried to be so overly clever because it really detracts from the good parts of the movie.

Sneakers

Tags

1990's, Ben Kingsley, Caper, Crime, Dan Aykroyd, David Strathairn, Mary McDonnell, Phil Alden Robinson, River Phoenix, Robert Redford, Sidney Poitier, Sneakers

Film Title

Sneakers

Director

Phil Alden Robinson

Starring

• Robert Redford as Martin Bishop
• Dan Aykroyd as Mother
• Sidney Poitier as Donald Crease
• David Strathairn as Whistler
• Mary McDonnell as Liz
• River Phoenix as Carl Arbogast
• Ben Kingsley as Cosmo

An enjoyable and light-hearted caper movie, Sneakers boasts an all-star cast and a sparkling script as well as ratcheting up the tension at various times.

Martin Bishop runs a San Francisco team known collectively as ‘Sneakers’, their job is to break into security systems to check the effectiveness of them. The rag-tag team comprises of former CIA operative Donald Crease, Mother, an electronics technician and conspiracy theorist, Whistler, a blind man with exceptional hearing and enthusiastic whizz kid Carl Arbogast. Everything is going fine until the NSA contacts Martin. They have information regarding his past as a student radical that could have him imprisoned. The case will be dropped if Martin and his team can recover a black box from a prominent mathematician. Although reluctant to help, Martin sees that he has no choice if he wants to avoid his past coming back to bite him. Enlisting the help of his team and well as his old flame Liz, they manage to track down the box with their combination of technical skill and smarts. This is when the twists arrive and the mathematician is murdered. It seems this black box is a codebreaker that can used to break into even the most secure building ever. Martin and the rest of the team must decide what to do before it falls into the wrong hands and as they soon become embroiled in a web of crime and espionage with a face from Martin’s past coming back to haunt him.

A script brimming with comic interplay gives Sneakers a humorous edge and allows us to root for the characters and believe the long-standing camaraderie that they have with one another.Phil Alden Robinson directs with brisk assurance and verve, giving us the many dangerous incidents that the team find themselves in a warmth yet a deep seriousness and suspense. The various technological aspects of the case are presented in striking visuals, a standout scene being the team cracking an important anagram using the pieces from a Scrabble game and Whistler’s extraordinary hearing and computer skills. The scene features initially slow cuts between the two factions of the team that quicken in time with the score as the code is eventually cracked. This gives the film an enjoyable factor and makes it a cracking crime caper peppered with humour and an abundance of twists. Tension is also high in the scenes of the team sneaking into a secure building in order to retrieve the stolen box, and trying to avoid the hi-tech sensors employed to ensure no one can enter undetected. Some of the technical jargon may become confusing and the narrative may lull in various places, but for most of the duration Sneakers is a sparkling and fun crime caper. James Horner provides the lively score of trickling piano and unusual percussion to give the feelings of danger and a race against time for team.

Heading the all-star cast is Robert Redford who sends himself up a little with his mix of charm and wit in the role of Martin, the leader of the ‘Sneakers’. Dan Aykroyd is a hoot as the conspiracy theorist who won’t take no for an answer. Sidney Poitier plays the role of the former CIA operative with ease and eye-rolling humour as he is the one who often disagrees with rash decisions by younger members of the team but finds himself going along with it, albeit under duress. David Strathairn steals all the scenes he is in as Whistler, the blind man with amazing hearing whose skills are invaluable to the gang in their times of need. As the main female in the movie, Mary McDonnell shows that it’s not just the men who can have fun with her sharp performance as Liz, the former girlfriend of Martin whose smarts and good looks come in very handy with this most complex case. In one of his last roles before his untimely death, River Phoenix gives a nervous exuberance to the role of computer whizz kid Carl, the youngest member of the team who is constantly on the lookout for an attractive woman in his life.  The weak link in the chain of excellent performances is surprisingly Ben Kingsley as a face from Martin’s past with villainous designs. We all know that Kingsley can play the villain in his sleep, but he isn’t given enough screen time to make him a compelling adversary for Martin and his team.

Bristling with light-hearted charm, excellent performances and caper shenanigans, Sneakers is if nothing else an enjoyable movie with style and humour.

 

 

Topkapi

Tags

1960's, Caper, Comedy, Crime, Gilles Ségal, Jules Dassin, Maximilian Schell, Melina Mercouri, Peter Ustinov, Robert Morley, Topkapi

Film Title

Topkapi

Director

Jules Dassin

Starring

• Melina Mercouri as Elizabeth Lipp
• Peter Ustinov as Arthur Simon Simpson
• Maximilian Schell as Walter Harper
• Robert Morley as Cedric Page
• Gilles Ségal as Giulio

Jules Dassin excellently sends up his previous heist movie Rififi with the comedy caper Topkapi. Boasting eccentric characters, an ingenious plan to steal a heavily guarded object from an exotic location and some genuinely nail-biting suspense, it is not a film to be missed for fans of comedic capers and suspense alike.

Elizabeth Lipp is an accomplished and seductive thief who has her eye set on obtaining the emerald encrusted dagger owned by a former sultan in the Topkapi Palace, Istanbul. In order to carry out this daring theft of extreme danger and precision, she enlists the help of intelligent and suave Walter Harper, also an expert in the thief business. He decides to form a crew of amateurs, so it will be harder for the police to track if something goes wrong. He enlists the help of Cedric Page, a British expert in all things mechanical and Giulio, a mute acrobat known as “The Human Fly”. Travelling to another destination, they employ the unwitting Arthur Simon Simpson, a bumbling con artist to drive a car through Turkish customs, which unbeknownst to him is filled with explosives and weapons for the master plan. All seems to be going well until Simpson is stopped at customs and the weapons are discovered. Rather than charging him, the police recruit him to spy on Elizabeth and Walter as they mistakenly believe they are planning an attack on National Security. What ensures is a nail-biting, tongue in cheek movie that keeps you laughing but leaves you on the very edge of your seat.

The direction of Jules Dassin should be praised for raising what could have been a run of the mill heist mill and adding his own, satiric and tension-laden spin on it. The luxurious and eye-catching sets are stunningly mounted, especially the treasury that contains the desired dagger. Only sometimes, such as the blinding opening does the colourful atmosphere distract from the plot, but for the most part the visual style is controlled admirably. The costume design, particularly for Mercouri’s character is outstanding, capturing her enthusiasm for extravagance.

The success of Topkapi is benefited by a cracking script that gives the actors interesting and eclectic characters to play. As the female lead, Melina Mercouri is the seductive Elizabeth, who utilises her sexy appearance and husky voice to great effect when manipulating the men into taking part in the scheme. Peter Ustinov deservedly won a Best Supporting Actor Oscar for his performance of the hapless Simpson, his many mishaps and inept ventures both funny and endearing to the audience. Maximilian Schell is the smooth-talking brains of the operation who knows the danger yet is excited by the prospect of it. As the other member of the heist, Robert Morely adds humour as the electric expert Cedric and Gilles Ségal adds athleticism and daring quality to his acrobatic character. As mentioned prior, Dassin creates some excellently suspenseful scenes, especially in the almost wordless attempt to retrieve the dagger. Making great use of silence, close-ups and the athletic Giulio hanging by a rope harness whilst trying to evade the censor filled floor, he creates a masterful heist sequence that leaves you panicking as to whether it will all eventually work.

If it’s an old-school crime caper with eccentric characters, stunning locations and a humorous script to boot that you want to watch, I don’t think you can go wrong wit Topkapi.