What a strange film. I’d never really heard of it, past the title, so… I didn’t know what to expect, but even if I’d known something about it, I doubt I could have expected it.
Collinson is a fantastic Panavision director, so the Italian Job is always watchable, even through the awkward opening. The first act or so pretends it’s a traditional heist movie with Michael Caine as the lead. In addition to playing a lucky recently released convict (the heist has nothing to do with his ability, just his enthusiasm), he’s also the most irresistible man in all of England. The first fifteen minutes do little but feature women swooning for Caine.
Also incredibly strange is Noel Coward’s criminal mastermind (imagine a Bond villain as an affable British gentleman). It’s silly, but funny… especially his cell walls covered in pictures of the Queen.
It takes a while to make itself clear, but the Italian Job is a farce. It’s not a spoof of a heist movie, instead it is farcical.
The heist sequence, which removes actors and gives the audience cars to root for and identify with, is exhilarating. It’s not particularly strikingly choreographed for a car chase, but the Italian locations and Collinson’s composition make it great to watch.
Speaking of Italian locations, the film’s so outrageously anti-Italian, I can’t believe they were allowed to film there.
And a great score from Quincy Jones.
It’s slow to define itself, but once it does… it’s a great time.
Directed by Peter Collinson; written by Troy Kennedy-Martin; director of photography, Douglas Slocombe; edited by John Trumper; music by Quincy Jones; production designer, Disley Jones; produced by Michael Deeley; released by Paramount Pictures.
Starring Michael Caine (Charlie Croker), Noel Coward (Mr. Bridger), Benny Hill (Professor Simon Peach), Raf Vallone (Altabani), Tony Beckley (Freddie), Rossano Brazzi (Beckerman), Margaret Blye (Lorna), Irene Handl (Miss Peach), John Le Mesurier (Governor) and Fred Emney (Birkinshaw).