The Light Touch

Stewart Granger is an art thief in partnership with George Sanders. Granger has stolen a prized mdonna from a church, and Sanders is arranging to sell it. Tired of the small profits, Granger claims the picture was lost on a boat. He and Sanders look for an artist to make forgeries ..... excuse me, copies, and settle on Pier Angeli. As Granger evades Sanders, two sets of willing buyers, and local cop Joseph Calleia, he and Sra. Angeli get married. When she discovers what her husband does for a living, she is aghast.

It's filled with Sanders' casually delivered, dreadfully cynical remarks, Sra. Angeli's fresh, sweet charm, and some lovely camerawork by Robert Surtees. Writer-director Richard Brooks' script lacks the light touch; none of his movies were notable for subtlety. But working with the well-oiled MGM machine, he could turn out a good movie. He does so here, although Stewart Granger despised him. With Kurt Kaszner, Larry Keating, Rhys Williams, Mike Mazurki, Norman Lloyd, and Hans Conried.

Richard Brooks wrote and directed this early example of the caper film. Stewart Granger plays a canny art thief who, with the help of an innocent Pier Angeli, tries to pawn off a reproduction to his client, Kurt Kaszner. The story is admittedly thin but there's some great repartee, especially amongst the troika of bad guys played by George Sanders, Norman Lloyd, and Mike Mazurki. And really, how can you go wrong with a threesome that sinister? Robert Surtees' cinematography is excellent and takes reasonable advantage of location work in Italy, Sicily, and Tunisia. All in all, its better than you might think (and certainly better than the other two reviews for the film indicate).

In his second directed film, Richard Brooks filmed his own screenplay and you kind of get the feeling he would like to have had Cary Grant as his lead as he did in his first film, Crisis. I'm betting this film had to have been offered to Grant.

Failing to get Grant, MGM had its leads under contract in Stewart Granger and Pier Angeli. They did a reasonably good job in a caper film where the thief turns out to have a conscience.

Granger contracts to steal a valuable religious painting from a church in Palermo and makes good his escape to Tunis. Where instead of delivering it to fence George Sanders, he uses the old Granger charm to make copies and see if he can collect a few times on this robbery. Since nobody knows quite what Granger's game is, they have to wait and see including the police inspector Joseph Calleia.

The charm is used on young artist Pier Angeli and he even marries the girl. But she in the end has more effect on him than he on her.

MGM brought Richard Brooks and the whole cast over to Sicily and to Tunis with interiors filmed in their Cinecitta studios in Rome. So after going through that expense, why didn't they opt for color, given some of the beautiful locations they were filming at?

For Calleia and Angeli, this was a return home. For the rest of the cast it was a nice Mediterranean working vacation even though Brooks and Granger did not get along. I really do think Brooks must have seen this film for Cary Grant.

It's not a bad film, it does drag in spots and color would have been of immense help. Still Granger is every bit as charming as Cary Grant.

No matter what Richard Brooks thought.

Don't read the "Storyline" - it has too many spoilers.

Intriguing Characters & a Suspenseful Plot: I'm rating this movie a "10" in the hope of improving the ridiculously low 5.8 rating. It certainly deserves at least a 7. It's suspenseful, clever, and definitely enjoyable, especially if you don't know too much content ahead of viewing it. My husband & I both found "The Light Touch" to be well-acted, entertaining, and to have a worthy script. Some descriptions include "comedy" in the classification. Though there are some amusing lines, it's far from a "comedy." Interesting contrast in the cast of characters, to be sure!

Thief Sam Conride (Stewart Granger) steals a painting from an Italian museum. He double-crosses his partner Felix Guignol (George Sanders) by faking its destruction in a boat fire. Their client Aramescue don't necessarily buy it. Sam comes up with a new scheme. They recruit innocent Anna Vasarri (Pier Angeli) to paint copies and sell them to unsuspecting customers who know about theft but don't know that it's supposedly destroyed.

This is a B-movie. It desperately needs a bigger star. Sam needs to be a slick charmer. Granger has an old-time leading man look with height. I don't notice his British accent. He seems more non-descript than anything. He had a long career, but I don't know much of his work. The premise holds some potential, but this can't exceed beyond its B-movie nature. I can see this being reworked with bigger stars in the two leads.