Browsed by
Month: February 2012

How to Steal a Million (1966)

How to Steal a Million (1966)

“Pappa, I keep telling you: when you sell a fake masterpiece, that is a crime!”

Synopsis:
The daughter (Audrey Hepburn) of an expert forger (Hugh Griffith) enlists the help of a man (Peter O’Toole) she believes is an art thief to steal back a forged statue loaned by her father to a local museum.

Genres, Themes, Actors, and Directors:

  • Artists
  • Audrey Hepburn Films
  • Eli Wallach Films
  • Hugh Griffith Films
  • Peter O’Toole Films
  • Thieves and Criminals
  • William Wyler Films

Review:
Thirteen years after directing Audrey Hepburn in her Oscar-winning debut performance (for Roman Holiday), William Wyler re-teamed with Hepburn to make this stylish but disappointing Hitchcockian caper flick. The film’s primary flaw is its pacing: at more than two hours long, it simply drags, and takes far too long to get to its most exciting sequences (taking place during the heist in the museum). Once we’re finally there — and our would-be lovers find themselves stuck in a crammed closet, needing to find a way to break free and carry out their plan — the story becomes temporarily captivating, as we watch O’Toole’s character demonstrating immense presence of mind as a thief (even if this isn’t really his “true” identity). Hepburn is as lovely as ever in her palette of Givenchy outfits, but doesn’t bring anything new or interesting to her role; and a sub-plot involving millionaire Eli Wallach’s pursuit of Hepburn simply takes up precious screentime. This one is worth a look by fans of this particular genre, but be forewarned that it doesn’t quite succeed on all counts.

Redeeming Qualities and Moments:

  • Peter O’Toole as Simon Dermott
  • The genuinely tense and fascinating extended “closet scene”
  • Fine sets and outfits

Must See?
No, though it’s worth a look if you’re a fan of Hepburn or O’Toole.

Links:

Straight Shooting (1917)

Straight Shooting (1917)

“The ranchers’ empire, a vast grazing land — a once endless territory now divided and cut by farmers’ fences.”

Synopsis:
A cattle baron (Duke R. Lee) hires a gunslinger (Harry Carey) to kill a farmer (George Berrell) whose land is encroaching on his territory — but when he learns that Berrell’s son (Ted Brooks) has already been killed, and sees the grief this has caused Berrell’s beautiful daughter (Molly Malone), he quickly shifts allegiances.

Genres, Themes, Actors, and Directors:

  • John Ford Films
  • Ranchers
  • Rivalry
  • Silent Films
  • Westerns

Review:
Notable as “Jack” (John) Ford’s first surviving full-length film, this early western — featuring silent-era superstar Harry Carey — shows clear evidence of Ford’s directorial vision (at the tender age of 22!). He manages to turn an overly simplistic story about feuding between ranchers and farmers (along with a “bad-boy-turned-good” narrative twist, and a brief love triangle) into a reasonably entertaining outing — though in its hour-long running time, there’s not really much to sink one’s teeth into. Certainly worth a look, but not essential viewing for anyone other than diehard Ford fans and/or early-cinema buffs — though one could argue it’s “must-see” simply to see Carey in a flick.

Redeeming Qualities and Moments:

  • Early evidence of Ford’s directorial vision



Must See?
No, though it will certainly be of interest to Ford fans and/or those interested in early cinematic history.

Links: