User reviews

The Italian Job is one of the best-loved British classics ever made. Most people in my home country of Britain have seen the film many times (most of those times spent drinking tea and speaking like the queen, of course), but there's more than enough for audiences from other countries to like about this delightful thriller as well. As you almost certainly already know, The Italian Job stars Michael Caine as the criminal at the centre of the job, dubbed 'The Italian Job' (would you believe). Caine is iconic in this film; his voice and mannerisms are often imitated, and it is this film that is probably most responsible for that. The plot follows Charlie Croker (Caine), a freshly released crook that, with a tip off from a deceased friend, decides to steal £4 million from Italy. However, it's not an easy job and there are many risks involved, so the job must be astutely planned and flawlessly executed for it to work right - and it is there that the film really takes off.

The Italian Job is well remembered for two things, the first of which is the Mini's. This is the film that made Mini's cool, so as you might expect, there is a fair amount of stunt work involving the Mini, a lot of which is truly spectacular - these little cars can be seen driving up stairs, onto and across roofs, through shopping centres, flying over various chasms etc and it's all very exciting. The second thing that it is remembered for is, of course, the line - "you were only supposed to blow the bloody doors off!", which is one of the most quoted of all time. The film's impact on popular culture has been immense, and that line's impact in particular is legendary; people that don't know the film know that line, and I dare say that a lot of them quote it even. It's up there with 'I'll be back' or 'that' line from Dirty Harry. The film also highlights a lot of British culture, most notably the reaction to something going right. English patriotism is a little different to the American version - while in America, the whole country may be united under the stars and stripes, very apple pie-like; England is much more content to chant a little inside of a prison. I know which version I prefer.

I could waffle on all day about this film, but we've both got better things to do, I'm sure so I'll finish by commenting on the ending; which is, simply, sublime and a perfect way to end the film; funny, well executed and absolutely genius. Well played.

Troy Kennedy Martin, its scriptwriter, has described the central significance of the mini cooper in Peter Collinson's cult heist movie. Perkily speeding through the streets of Turin, it represents the then New Britain: `laddish, self-confident and not taking itself too seriously'. The image of the weaving, dodging, red white and blue cars is the film's abiding one. Outside of their use in the prolonged escape scenes, and several splendid comic moments elsewhere, it remains entertaining, even if surprisingly slight.

Often seen as a quintessential sixties' movie, ‘The Italian Job' is more precisely a definition (or one definition) of Britishness as an optimistic nation at the height of a chic decade. In this atmosphere, pulling a job – or a bird – is practically a national duty. Robbery is considered by Croker and Bridger as a means to `help with the country's balance of payments'. The ultra-patriotic Mr Bridger (a splendidly aristocratic Noel Coward, his cell walls pasted with pictures of royalty) sees the job as much a matter of national pride, a means to demonstrate the efficiency of the British system of work, than a route to amass loot. Characteristically Bridger is more interested in studying balance of payment statistics than examining escape routes for his operatives who appropriately enough travel to their ‘work' on the Free Enterprise 1.

The reference to football is significant and parallels with the sport are deliberate. Most obviously, the robbery is planned for the time of an England-Italy match maximising confusion and even,(as Bridger suggests at one point), possible help from their compatriots. Croker's men at one point assume the identity of a van full of fans, while the impromptu beer celebration in the back of the coach, after ditching the minis, is the team's victory drink. It is clear that the Italians, whether the police or the Mafia, are as much their opponents as the national team playing in the stadium. Back in prison, upon news of the triumph by his ‘team', Bridger descends the stairs, like a penal Alf Ramsey, acknowledging the chants of ‘England!' by celebrating fans.

Caine's cockney player is very much the main character of the film (a role apparently – and amazingly – originally offered to Robert Redford). The actor, who had earlier played the soliliquising womaniser Alfie in the 1966 film of the same name, reprises some elements of that character's optimism and assumptiveness. In the present film he is less of cynical loner, studiously subservient to his criminal employer, though still on the look out for a good thing both professionally and sexually. Like his more famous compatriot, James Bond, he drives an Aston Martin although quickly reduced to a bicycle and then a mini. The Mafia's cliff-side warning dents some of his self assurance, presumably also shaken by the roughing up from Bridger's men (although interestingly the beating is never referred to again, and leaves no physical marks.) Away from his boss he remains very much his own man, although his loyalty is never in doubt: `From now on we work as a team. Which means you all listen to me.' Crocker is always in control, never sentimental, being content to pack his girlfriend off with the minimum of ceremony at the airport. Emotion will slowly filter through Caine's screen persona. His watching of Beckermann's footage early on, to explain the big idea, anticipates Jack Carter's less dispassionate viewing of celluloid in Hodges' gangster film two years later.

Before the long, final chase ensues, the gang's Aston and two Jags are ceremoniously wasted by the Mafia. While making a simple point about the threat and power of the Italian underworld, the removal of ‘competing' vehicles also reaffirms the status of the remaining minis. Ironically if the film has a weakness, it lies in the mini's prominence, which reduces tension during the last part of the film. The stunts remain eye-catching today (the notable roof top jump being filmed on the roof of the Fiat factory), but very often one is aware of watching a demonstration of the vehicle's versatility rather than any dramatic bid for freedom. In one scene filmed, later deleted from the release print, the minis and their Italian pursuers performed gracefully together on an ice rink choreographed to a waltz, slowing the action even further. That such a scene was considered, and filmed, gives an indication of how taken the makers had been with the car, and with the *means* rather than the *process* of urgent escape.

Another less satisfactory element of the plot is the disappearing Mafia. Initially presented as a formidable, organised force (as in their synchronised appearance on the hill side for instance), the Italian hoods are sidelined as events unfold, criminal impotents. Their absence from the finale seems odd. With or without the Cosa Nostra's malign shadow, the existing conclusion of the film has excited much comment. With its famous shot of the coach balanced out over the precipice, the gold sliding towards its back end, and Croker's closing `I've got a great idea..', it is a literal cliff hanger. The original script tailed off with the escape, and another twist in the tail was clearly needed. After some debate a studio executive added the existing close, which could easily have appeared lame, but in the event proves a satisfying conclusion. By leaving the coach – and the viewer – hanging, the film has it both ways: the crooks get away with it and yet they don't; a group of white British lads triumph in their cool minis, only to have their plans derailed by a careless black driver of their coach. If the film has been about the state of ‘Britishness' at the time then the uncertainty of its conclusion anticipates, perhaps, the doubts and strife of the ensuing decades.

"The Italian Job" is an enjoyable caper film with fast pacing (there are almost no dead spots), good car stunts, OK performances and a unique, hard-to-forget ending. But many of the scenes involving Noel Coward supposedly planning the whole "job" from inside the jail are laughable (they're just too far-fetched to be accepted as satire of any kind) and the chase goes on perhaps a bit too long. Still, the film is much better than "Dollars" or "How to Steal a Million". (**1/2)

A film remembered very much for its quirky ending and amazing car stunts in the middle of Turin, Italy, The Italian Job does a half-decent job to entertain us with light hearted comedy, thrills, spills and average story.

However, I rather think the film would've disappeared had it not been for the charismatic weightiness of the relatively new British actor, Michael Caine. Already well known in the UK from previous films such as Zulu & Alfie, and it particular for his portrayal of Harry Palmer in a succession of spy movies (Ipcress File and Funeral In Berlin) Caine was still largely an unknown on the internation circuit, particularly in Hollywood.

The Italian Job offered Caine the opportunity to shine across the world and move him into super stardom as the cheeky Cockney with a heart of gold and roguish character. Caine has a very interesting presence on screen, a kind of British version of Robert Redford. He looks very self assured, perhaps a touch arrogant but he has the capabilities of either lifting a poor film into a competent one or dragging a goood film down to an average one based purely on his own strengths & weaknesses.

The Italian Job, therefore, is very much an average film even if one includes the stunts & chases. But Caine's marvellous character lifts the movies to a more pleasing one because his character is so large & rounded that even though we know he is very much a dodgy criminal by nature he isn't really a nasty evil man and so we can relate to him and cheer him on all the way through the movie.

I didn't really like Noel Coward's role at all as the Mr Bridger, the highly respected prisoner/criminal overlord that even the prison Governor has to respect. To me it was an embarressment and only served to distract the viewer and slow the pace of the film right down. Coward is far too pompous & boorish and added nothing to the movie at all.

Some of the supporting characters, Benny Hill, Robert Powell, Irene Handl & John Le Measurier are quite familiar to the great majority of UK tv viewers but don't really do themselves much justice in this film, with the possible exception of Hill and his passion for "large" ladies, which would in future years develop into his own TV show "Benny Hill Show".

Although the story is ok it soon becomes bogged down with too many distractions & seems to take for ever to get moving. And of course because this is primarily a British made film with a lot of UK actors the largely Cockney accent from most of the cast does irritate, even to other UK ears.

But again Caine's presence makes us forget about these little faults and all of a sudden the film becomes interesting again. But really this film is far too dependent on those car chases and "that" ending to really make for an enjoyable experience.

What the 2003 version of this film will look like I have no idea, but I suspect it will fall flat on its face very much in the same way the Hollywood remake of another British classic, Get Carter, died a quiet death two years ago.

The Italian Job is ok for a boring Sunday afternoon viewing, but take away Caine and you don't have much to think about.

**/*****

This thing starts moving and doesn't let go of you until the end, at which point you wish you were still on the ride going. We were surprised that we'd never herd of this before, especially since so many scenes are in video games these days (and times past).

This isn't one of those movies you spend your time thinking about, just sit down, watch, and let the movie unfold before you. If you're looking for good entertainment, this is it. If you are looking for meaning and some sort of significance, look elsewhere.

Good fast fun! 8/10

"The Italian Job" is a comedic heist film that is mostly renowned for the extended car chase getaway. In it, a thief recently released from prison (Michael Caine) organizes a scheme to steal a shipment of gold bars by creating a massive traffic jam and using a trio of Mini Coopers to escape with the loot.

The cast is pretty decent with the always dependable Caine perfectly cast as charismatic thief Charlie Croker, Noel Coward as the incarcerated backer of the titular job and Benny Hill in a small role as a computer expert obsessed with plump women. Besides that there's no-one worth remarking on and not much acting that isn't up to snuff.

The script is bold and inventive with much of the humour being understated and unpredictable. The heist itself is clever but the staging of the getaway is a real work of art. Again, there is an inventiveness that is quite refreshing. Nevertheless, I was starting to get a little tired of waiting for the heist to be set in motion. Finally, the ending caps the proceedings in memorable fashion.

The direction by Peter Collinson is solid and above average for an action-comedy. The music, handled by Quincy Jones, is memorable but also characteristic of the era, meaning that it is unlikely to appeal to all tastes.

If you're looking for a lighthearted crime caper this is just the ticket. I particularly recommend the film since it includes what is, in my opinion, the best car chase ever filmed.

The Italian Job - people rant and rave about this film, and we always get told it's the one with the three mini coopers and that infamous line. It's all that, but so much more as well.

Noel Coward's performance was amazing, the camera loves him - and he loves it back, oozing camp control at every moment. Caine doing what he does best, shout, get annoyed and generally play the bad boy. The surprise for me was how visually interesting the film was - sweeping shots of the alps, racing movements through Turin...surperb.

The minis sequence is all its build up to be and more, I just grinned throughout. I loved the fact that no Italian policeman could drive, in fact the whole comedy anti-European theme was hilarious.

A great, entertaining film with a strong supporting cast (Benny Hill!) and a brave, memorable ending. Often copied, never matched. Spoil yourself, go enjoy.

I enjoyed The Italian Job in general, I don't revere it as a classic but it is entertaining with a great cast, fabulous locations and a brilliant soundtrack. The secondary characters could have been developed much more though, and the direction was a little too flashy. That said, a vast majority of the dialogue is above decent, there are occasions where it could have been better, but it is good enough. It is well paced though, and the cinematography, scenery, set pieces and costumes are fabulous, Turin looks glamorous and the interiors from Twickenham Studios are stunning. Quincy Jones's soundtrack is brilliant, and the cast is first rate, with Michael Caine suave and charismatic, Noel Coward marvellous and Benny Hill great value. Overall, not a classic by all means but very good. 8/10 Bethany Cox

It is difficult to imagine a world where car chases are new and this film was certainly in uncharted territory when this film was shot.

But the car chase is really all there is to the film. The set up is slow and the "women as objects" and men as "the cheeky rogue" is just juvenile and tedious. So, the reason why the Austin Powers films are funny - women going crazy over him for no logical reason - is played as serious here. So the whole nymphomaniac fantasy concept just seems lame.

The pacing is pretty slow and there's no by-play or sub-plot to help hold interest. It's just one long "and here's how we did what we told you we would do". I am sure fans of the film will say my points are invalid, but I offer them not to negate the popularity of the film, but to warn those that haven't seen it to not expect some kind of "Mission: Impossible!" 60s adventure. It's 13 whining guys stealing gold. Brilliant car chase sequences.

It is unfortunate that the 2003 film was released with the same name as the 1969 film because it clouds the (unsophisticated) mind with subjective judgment. For everyone who compares the two films - stop! The original was filmed in a different time period and the viewer must make a conscious effort to put him/herself in that state of mind to understand it. The film is pure entertainment, and it accomplishes that with humor and some clever stunts. As viewers, we need to be objective and aware of the differences that have arisen on so many levels as the years have passed.

For those who complain that the premise of the heist is not realistic, it was never supposed to be. Consider that if it had been intended as a realistic portrayal, the crooks would have killed those in their way and taken the loot without concern for collateral damage. The existing plot kept the mood decidedly "all in good fun."

Michael Caine made as good a performance as ever in this film. It is fun for fans of him to see the many different roles he has undertaken in his prolific career.

THE ITALIAN JOB is a jolly entertaining movie. With Michael Caine in the leading role as Charlie Croker, a elegant, charming and professional thief that's just been released from prison and is on a big heat. The heat shall take place in Italy in the city of Torino, together with a bunch of other low-time bandits they settle up for a very good heat where it's all about gold coming in to Torino. Three Morris Mini's in red, white and blue is the getaway cars...

The movie is very English and very fun all the way, and it can sort of remind of James Bond moods although this is more of a comedy, but on the other hand the movie isn't very funny either. Terrifying filmmaking with the big Italian woman who gets p***ed with fast-motion making her voice sound much more irritating.. The movie offers a lot of entertainment and is easy entertainment! But, the end is something of stupidity. The happy crew of bandits driving in a huge buss suddenly gets to excited and happy over the successed heist that the bussdriver takes a bad turn and the buss is suddenly hanging off a cliff! The bandits standing in the buss, and on the other side the gold are laying, and so Caine starts moving carefully towards the gold, and starts crouching, why? It really doesn't make his weight any easier!

Well, anyhow, the movie has got a very fine and very well-known classical car-chase with these three Mini's driving, a very funny scene. The movie has got a lots of splendid entertainment, but as a film, it's a bit low. STARS: 3/5

This is a cracking crime caper. An absolute cracker. Soooo much better than the recent remake.

The characters are fantastic, the British vs Italy nationalist fun. And old school political incorrectness abounds.

Caine is excellent and you feel he and the cast really had fun.

The car chases are fantastic. No CGI here!

A must watch. Treat yourself to this Mini Classic!!

The michael caine one, from 1969. Not the remake. And what an odd collection of co-stars... noel coward, who was quite the major playright and actor. Benny hill !! Probably better know for having his own silly, sexy, politically incorrect television series, and was even in the film chitty chitty bang bang. The plot is the same as the modern remake. The gang of thugs work together to steal the gold and get it out of town in a busy crowded city. Using the latest technology... fire hoses, dynamite, and giant rolls of mag tape. For those under 40, lookup magnetic tape. It looked like a 2400 roll. It all works. Mostly clever story. Except for the awful ending. What the heck? What a mess. Did the writers fall asleep at the very end? Directed by peter collinson. Died young at 44 from cancer. Music by quincy jones. Be sure to check out the trivia section on imdb... it will help you understand the film and that weird ending. Then watch the remake from 2003.

Charlie Croker (Michael Caine) is a lovable, fashionable convict who despite having served five years in prison, is immediately engaged to accepting an "Italian Job" in Italy and in the process, completing the intricate crime of a lifetime. A short but very interesting film about an Italian town called Turin, is sent to him by a good friend and marked man called Beckerman (Rossano Brazzi). The film instructs Croker to take the accumulated plans, get a financial backer and pull off what Beckerman describes as a $4,000,000 gold robbery, through a traffic jam. The minor problems are explained but easily overcome by Bekerman's meticulous plans. However, the main obstacles to the bank heist are no trivial matter. Croker will be up against the highly sophisticated armored convoy with its armed guards, the 'special security' system of the bank, and an entire city in Chaos. Additionally the shipment will be protected by the biggest obstacle of all The Mafia (Raf Vallone). They warn Charlie, if he attempts to steal the gold, he will be sent back to England in a pine box. To his credit, Charlie wins over the confidence of England's version of the Godfather, Mr. Bridger (Noel Coward who is superb.) To further aid Croker, he assembles an odd assortment of characters such as Professor Simon Peach. (Benny Hill who is wonderful) and Stanley Cain as Coco. The entire film is dedicated to the fact that even the most secure treasures can be stolen. However, hanging onto them, crossing the Alps and getting back home is subject to the Law of Gravity. A serious and comic film destined to become a classic, especially with it's haunting theme. ****

Question: How can we possibly empathise with a group of crims, ex-crims and general good-for-nothings? Answer: Make sure that everythings goes against them. And so it goes, we have a healthy stock of characters you really can't take at all seriously, a plot that really doesn't stand up to too much close scrutiny (but it'll stand up to enough- it got the job done, right?) but action and humour in all the right places, all for a thoroughly engaging flick that stands up to repeat viewing again and again, even if it is just the Mini's scene. Oh, and let us not forget the ending...

In Summary: Bingo

Memorable for its car chase scenes, but otherwise quite poor.

A recently-released criminal, Charlie Croker (played by Michael Caine), devises a plan to rob Fiat of a large amount of gold in the city of Turin. He gains the backing of a British crime kingpin, Mr Bridger (played by Noel Coward) and assembles his team. Once in Italy he discovers he now has to contend with the Mafia in order to carry out his plan...

Not sure why this is so highly regarded. Yes, the car chase scenes, involving blue, white and red Mini Coopers, are iconic, but that's it. The script is mostly quite silly. Hardly anything is plausible or makes sense and sub-plots are plain random. Far more style than substance, and the style isn't that classy.

Michael Caine puts in a solid performance in the lead role. Noel Coward's character provides much of the implausibility. Benny Hill has a supporting role as weird, creepy, fetish-loving, tech professor - an ideal role for him.

I enjoyed the 2003 remake far more - action was as good and the script was much more solid. One of the few times I've enjoyed a remake of a movie more than the original.