The Brink's Job

Dino DeLaurentis' "The Brinks Job" actually holds an infamous place in Boston's cinematic history. In an attempt to distance itself from a cheap TV movie quickie (made to capitalize on the announcement of the big-budget film) director William Friedkin decided to shoot his version in Boston at the actual site of the crime -- the Brink's building -- long since converted into a neighborhood parking garage and available to rent out.

There had been a few movies shooting mostly exteriors in Boston in the 70s including the still locally remembered "The Friends of Eddie Coyle" in 1973. But "Brinks" was the largest production ever mounted with Friedkin completely shooting it in the Boston area. And because of what happened during the production, Hollywood avoided shooting anything of this size in Boston for 20 years!

When the movie trucks rolled in, the privateers descended. Suddenly, anything the movie company needed to buy was more expensive and the crew had to conceal who they were when purchasing goods and services. But the worst was what the Teamsters did.

The production wanted the key people of the film to be picked up by limos in the morning and brought back to their hotels in the evening. But the local Teamsters insisted that their drivers be paid to be standing by 24-hours a day, seven days a week which added $1 million to the film's budget. Two Teamster leaders were found guilty of racketeering and mail fraud and sentenced to jail time because of this shake-down. It was learned the Teamsters had been doing this to films shot in Boston for the previous 10 years.

Additionally, the film's Boston production office was held up by armed gunmen who made off with 15 reels of film which were held for $600,000 in ransom. The thieves later lowered their demand to $500,000, but were told over the phone by Friedkin that the footage was duplicates and they could keep them.

Word filtered back to Hollywood to avoid Boston and for nearly 20 years major productions skipped the city and used other places like Philadelphia to stand in for Boston. "A Civil Action" in 1997 represented a turning point and since then the city and the state of Massachusetts cleaned up their act and even sought out film productions by offering an unlimited 25% tax incentive.

Today, Boston and Massachusetts are bustling with more than 30 productions a year with three sound stage facilities and more planned for the area. But in the '80s and most of the '90s, the city was a no-man's land for movies as it paid the price for profiteering off "The Brinks Job."

After the dismal box office and critical reception of SORCERER (1977), William Friedkin went for a change of pace with this light-hearted piece which, however, proved that his previous misstep with was no fluke: in fact, his career never really picked up after that costly bit of self-indulgence (even so, I’ve only just acquired the director’s fair update of his own THE FRENCH CONNECTION [1971], namely TO LIVE AND DIE IN L.A. [1985])!

Anyway, this concerns – in a somewhat uneasy comedic vein – the famous January 1950 robbery from the Boston branch of the titular depository of payrolls destined to various key firms; incidentally, the same events had previously been depicted in the 1976 TV-movie BRINKS: THE GREAT ROBBERY. Its coup is in the meticulous period reconstruction (which earned production designer Dean Tavoularis, already responsible for BONNIE AND CLYDE [1967] and “The Godfather” films among others, an Oscar nod) – Friedkin himself had earlier demonstrated his prowess in this area with another comedy about an equally notorious incident i.e THE NIGHT THEY RAIDED MINSKY’S (1968).

Interestingly, too, the cast of daring crooks here comprises several reliable character actors of the era – Peter Falk, Peter Boyle, Allen Garfield, Paul Sorvino and Warren Oates; 1940s Hollywood veteran Sheldon Leonard turns up towards the end as J. Edgar Hoover(!), but Gena Rowlands is wasted in the role of Falk’s wife. The comedy revolves around Falk and Garfield’s bumbling duo – the former is the mastermind and the other his often resentful relative/underling. After a number of ‘jobs’ go wrong (with Falk even doing a 6-year stretch in jail) or the ‘funds’ don’t last (one amusing sequence has them following a payroll van around and lifting a handful of money bags with every stop it makes – since the officer left to ostensibly guard them is apparently in continuous slumber!), they set their mind on robbing the Brink’s warehouse.

After studying the place from the outside (such as time of arrival and departure of the various employees, and their toilet habits!), Falk manages to get inside the building to get an idea of how it’s set-up; with the place left unguarded during the night, he’s able to break in with relative ease to look for possible alarm systems and determine the model of the safe – the former is an ancient device, but the latter is up-to-date and unassailable. Oates, a war veteran, proposes to dent its surface with a bazooka fired from the roof of the opposite building(!) – however, saner heads prevail and they organize a good old-fashioned stick-up (complete with the gang putting on grotesque masks). Eventually, the sum they make off with is over $1.5 million – which, at the inflation rate of the day, was considered the biggest haul in U.S. history…thus bringing the F.B.I. in on the case.

I’m not familiar with the facts of the real case but, here, the denouement is rather unexciting as Oates is brought to justice for another (minor) theft and, since he has a very sick sister and can’t possibly make the whole jail-term, he spills the beans on The Brink’s Job! Still, the gang apparently had the last laugh as, in spite of Hoover’s promises, a very small percentage of the money was retrieved over the years (as per the postscript) – and, following the lapse of their individual sentences, one assumes each picked up where they had left off… Ultimately, the film is O.K. (though curiously undistinguished among the spate of heist pictures made during this cynical era) – and especially disappointing given the intriguing subject matter and the welter of talent involved (including a script by THE WILD BUNCH [1969]’s Walon Green).

Would never go as far as saying this film is a forgotten gem ! .... but it is still enjoyable and that is down to the likeable cast and the easy going feel of them film ... Recommended for a one time watch , pretty forgettable but it has a certain charm to it which leaves a smile on your face !

I remember when this movie was filmed back in 78. yeah its dating myself. The movie was filmed at MCI ( Massachusetts Correctional Facility) Concord, Concord Mass. My father while actually working there was an extra. I had a chance to meet Mr.Falk and a few others as a kid ( I was ten). We had free tickets to the opening. I thought it was an awesome movie about bungling thieves. Most folks expected a serious thief/heist movie. Although based on an actual event. I found the movie comical. Although it didn't have Mini coopers jumping through a European city. It did serve its purpose as a good funny movie. A good buy as a bargain.

William Friedkin directs this period heist black comedy based on true facts and it is very different from the rest of his output.

Peter Falks plays Tony Pino a small time Boston petty crook. Even after being released from jail he and his bumbling gang which includes brother in law Vinnie (Allen Garfield) struggle to pull off a decent job such as robbing a bubble gum factory.

Pino notices that the local Brink's warehouse has lax security. When he cases the joint he notices that Brink's is too stingy to spend money in having a decent security system and he can just walk in. Their promotion of having an impregnable fortress is just baloney.

In 1950 Pino and his men stole over a million dollars in cash. FBI director J Edgar Hoover (Sheldon Leonard) took a personal interest in the robbery thinking it was the work of communists. He spent $25 million to try to apprehend the gang.

Friedkin displays a lightness of touch but the script has paper thin characters. The comedy and the heist needed more emphasis such as in the Italian film Persons Unknown, later remade by Louis Malle as Crackers. The casting of Peter Falk and Gena Rowlands harks back to the John Cassavetes dramas.