Topkapi

Topkapi is a wonderful caper film that established the genre of the light heist flick. Much copied even to this day, it was a big international hit back in '64. Marvelous international cast (Ustinov's Oscar winning performance among them), exotic settings and a great climax is pure entertainment. Ustinov, Melina Mercouri, Max Shell, Robert Morley, Akim Tamiroff (demented!) and more. What a terrific international all star cast! Exciting movie in it's day, though some of the effects are dated to the 60's. If it seems a bit slow at the beginning (by today's standards), give it a chance. The climax art museum theft scene is one of the great moments in film - don't miss it!

Geez, I can't get over all the sour comments about this film on this site. Long? Boring? These must be the feelings of MTV kids who can't focus on an image for longer than thirty seconds... For the rest of you looking for the perfect caper film, look no farther. Exotic locale... great cast... memorable score... Topkapi has it all. In my opinion, this is a far superior film to Jules Dassin's earlier Riffifi. Topkapi is glamorous, funny, exciting -- but above all, fun.

"Topkapi" is a classic. In it, a group of criminals with a plan to break into the Topkapi Palace Museum in Istanbul, and steal a jewel-encrusted dagger. Melina Mercouri stars as Elizabeth Lipp, the mastermind behind the heist. Peter Ustinov is along for the ride as Arthur Simon Simpson, who does a good turn of comic relief. The movie shows beautiful shots of Greece and Turkey on its wild trip. It's similar to the original "Ocean's Eleven," as you root for the thieves. You find yourself hoping crime will pay! The last shot of the movie shows more of the fun spirit present in the movie. In the end, I wondered a little about the continuing adventures of the characters. Surely, this caper deserves investigation!

Every single moment of Topkapi that dealt with the heist was an absolute thrill to me. It has been a long time since I watched a movie that had me holding my breath to this degree, but there were so many moments when I couldn't wait to see what would happen next (including a scene that clearly inspired an iconic moment from the first Mission: Impossible film.) I also loved how this movie embraced the idea of building a team of people who all have specific roles to play in the heist. Between watching the team assembling and seeing how they adapt to problems along the way, I was hooked. I only wish they got to the actual job a little earlier in the film. There was a long stretch of time where they do nothing of importance, and I was worried it might get boring. I also didn't fully understand the reason that they involved Peter Ustinov in their plot in the first place, which seemed to be a massive inconvenience created solely to add drama to the film.

That being said, I would never complain about Ustinov's presence in any movie. He's a great actor, and works well in this bumbling role. I also quite enjoyed Maximilian Schell as the mastermind and Robert Morley as the gadget man. Where Topkapi truly fell flat for me was Melina Mercouri. She had basically no purpose in the film, and did nothing more than serve as a distraction during the heist. Her entire performance rubbed me the wrong way, and I practically began the film rooting against the team simply because they were stealing something that was ostensibly for her. There were plenty of good things in Topkapi to win me back, and she isn't on screen during the best parts of the movie, so I still enjoyed my time with it. There are certainly better heist/caper films that I've seen, but Topkapi has all the right qualities to be on that list. I will probably even give it another try in the future, and perhaps my complaints won't bother me so much then.

Jules Dassin's Topkapi was one of the lavish heist movies, set in touristy locales, that were all the vogue four decades ago. And Dassin executes the heist itself -- of an emerald-encrusted dagger from the famed museum in Istanbul -- with grace, precision and suspense. But it's a very long time coming.

Dassin seems reluctant even to start the movie, dilly-dallying with a proto-psychedelic opening sequence involving games of chance and glittering gems. Then Melina Mercouri, shot in an iridescent haze, bulldozes her way out to address the audience but fails owing to her thick-as-moussaka accent. Finally we get to the rounding up of the gang of amateurs who will pull off the caper: mastermind Maximilian Schell, Robert Morley, Peter Ustinov, Gilles Segal (as a deaf-mute gymnast), and Mercouri.

The plotting and rehearsing of the crime take up most of the movie, leaving us to be entertained by the characters, none of which is really written. So instead we get each actor's idiosyncratic bag of tricks. And while Morley and Ustinov reliably amuse us, Schell flaunts his Continental-cool duds with a smug smirk frozen on his face. Mercouri, meanwhile, vamps it up like a demented drag queen doing Joan Crawford. What little friction exists among the cast members gets played for laughs -- no subversive subplots, no separate agendas are afoot.

Dassin made his reputation directing tough, unsentimental films in the noir cycle: Brute Force, Thieves' Highway, Night and the City. When forced back to Europe by the Hollywood blacklist, he did a superior caper film, Rififi; Topkapi seems a belated attempt to recapture it. But the chilled-down, ironic style that came into fashion in the early 1960s doesn't suit his earnest talents. Topkapi remains professional and pleasant but is now looking more and more like a period piece.