How to Steal a Million

William Wyler was at the end of his distinguished career when he undertook this project. The film with a screen play by Harry Kurnitz is a film that doesn't break any new grounds, but it's a favorite of a lot of fans, no doubt because of the luminous presence of Audrey Hepburn, a star of such charisma and elegance, unmatched by her peers.

Audrey Hepburn is seen in the film through the loving eyes of Mr. Wyler, a director who had worked with the star before. In fact, it was Mr. Wyler who was instrumental in directing Ms. Hepburn in "Roman Holiday", her big break in the American cinema. Audrey Hepburn is seen in the film at her best thanks to Givenchy, a designer that loved her, and whose clothes adorn the star and give the film a touch of chic.

Peter O'Toole makes an interesting partner for Ms. Hepburn. As Simon Dermott, Mr. O'Toole is the perfect match for his co-star. Both actors are seen at their most charismatic selves. They seem to be having the time of their lives working for Mr. Wyler and living it up in Paris!

The supporting cast is excellent. Hugh Griffith, Charles Boyer, Eli Wallach, Fernand Gravey and Marcel Dalio, and the rest grace the film with their distinguished presence and contribute to the general fun generated by this gentle caper.

Thanks to Mr. Wyler and its stars "How to Steal a Million" is a pleasure to watch.

What makes a movie like this so wonderful? It's probably just an age thing (I remember seeing this movie at the cinema), but when I saw it again recently I just felt a sense of joy and pleasure and, yes, optimism. Now these are words that may be almost incomprehensible to today's jaded, cynical and, often, brutalised audiences, and I am sure that many would see this movie as slow, naive and totally irrelevant.

But for me the effortless playing, the perfect timing and understated sophistication is so much more intelligent, witty and rewarding than the clunking, crude sign-posted so called "rom-coms" of today.

This is not their best film by any means, but to watch O'Toole and Hepburn playing off each other with such natural and fluent grace is simply magical. Lighthearted fluff like this completely works when the actors really know what they are doing.

And has there ever been anybody who is simultaneously so sophisticated and vulnerable as Audrey Hepburn? There is a scene where she is wearing a chaste little nightdress and she put on a pair of ordinary street galoshes. As she clumps across the room she displays more sex appeal and sheer class than any of today's moussed up, made up, blown up actresses could ever comprehend.

Leave aside for the moment the two leads, Audrey Hepburn and Peter O'Toole, both at the very pinnacle of their star power and attractiveness. Leave aside, too, the brilliant support of two comedy masters, Eli Wallach and Hugh Griffith. And the sheen of William Wyler's direction, honed to perfection over a long, award-winning career. And the sparkling dialogue of old-pro scenarist Harry Kurnitz. And the beautiful location photography in that most beautiful of cities, Paris. And John Williams' sprightly score, and the rich production design, and the exquisite costumes, and every other perfectly-executed facet of this gleaming gem of a film. And concentrate on one single moment: in the museum, in the cupboard under the stairs, when Audrey Hepburn's character realizes that Peter O'Toole is going through everything he's going through, including breaking the law even though he's a policeman, simply because he's fallen in love with her. The expression on Hepburn's face is one of those truly sublime moments that make movies what they can be: bigger than life, more real, more joyous, more true. And for that alone we can be grateful that this movie is available for us and our posterity to enjoy.

William Wyler crafts a delightfully frothy caper backed up by wonderful on screen chemistry between Peter O'Toole & Audrey Hepburn. It seems to me that Hepburn always managed to bond with her Male co-stars, and here the interplay between O'Toole and herself is wonderful. Check out a long sequence of events involving the pair hiding out in a closet, it's gold dusted cinema.

The film's central plot involves Hepburn & O'Toole planning a daring robbery from a Paris museum to keep her art forger Father (a delightful Hugh Griffith) out of trouble, at first the couple are purely business partners with no love lost for each other, but as the story plays out the pair are forced to get along and etc.

The burglary itself is dramatic, attention grabbing entertainment, and it's also the film's highest point, but overall the film as a whole is simply good romantic fun. Also helps that it features a very tidy shift for the finale to further reward the audience for their time spent with the movie. Throw in dapper turns from Charles Boyer & Eli Wallach too, and it's all good really.

Open the wine, sit back and relax with Pete & Audrey. 8/10

Peter O'Toole shows Audrey Hepburn "How to Steal a Million" in this 1966 caper film directed by William Wyler. The film also stars Eli Wallach, Hugh Griffith, Charles Boyer, and Fernand Gravey.

Hepburn plays Nicole, the daughter of a renowned art collector, Bonnet (Griffith), who in fact is not a collector but an expert forger. He has lent his famous Cellini Venus to the Paris Art Museum, only to find out that before it can be insured, there will be a technical test to assure its authenticity.

Since it's a sculpture, and the chemical makeup was different from the material in the 14th century, the forgery will be easy to detect.

In order to help her father, Nicole Bonnet contacts Simon Dermott {O'Toole) whom she caught when he broke into the house she shares with her father, and asks him to steal the Venus from the museum.

In the '60s, caper films were all the rage, and it would be hard to miss with two such beautiful and sophisticated stars as Hepburn and O'Toole. Their chemistry is great, the caper is clever, and the dialogue is witty.

The supporting cast is excellent; someone said Eli Wallach was miscast as an obsessive collector. Originally Wyler cast George G. Scott, but he was replaced when he arrived on the set late. Scott would have been more tycoon-like.

Like bubbly champagne, "How to Steal a Million" tickles and delights throughout.

Highly recommended.