source: Seven Thieves

Trailer—Seven Thieves

Seven Thieves

In what is probably the least known but best film to emerge from her late fifties Hollywood sojourn Joan Collins makes a memorably seductive femme fatale in this atmospheric heist film made they were still made in black & white with a clever script by Sidney Boehm (who comes up with a particularly neat conclusion) which more than makes up for the frequent use of process work throughout for the exteriors. Owing a lot to 'The Asphalt Jungle' it stars the incredible combination of Edward G. Robinson and Rod Steiger, with Eli Wallach first appearing in a beret and as a bonus then accompanying Collins on a saxophone.

Edward G. Robinson plays a scientist whose career has been ruined by an unspecified crime. He has dreamed up the perfect heist. For it, he has asked Rod Steiger to be his partner. Also involved are Alexander Scourbey, Michael Dante -- always associated for me with his role in "The Naked Kiss," and many others. Joan Collins looks pretty much the same as she looks now, 45 years later. It's pretty routine. However, the fondness and respect felt for Robinson by the others is interesting. Steiger particularly seems to hold him in awe. It's far from great. But it's fairly good.

I am a great heist films lover, but in the old fashioned way, certainly not the OCEAN'S ELEVEN (2001) crap genre, full of comedy and light heart lines. This one is not the grittier I have ever seen, but the good point is that you have here the sixties atmosphere, music, photography and the suspense related to heist movies. Edward G Robinson has a role here not far from THE BIG SLAM, directed by Guliano Montaldo, where he also was a master thief organizing a caper in Rio De Janeiro; but I agree, it was different. This one made by Henry Hathaway is however a good heist film, typical of the sixties, three years before MELODIE EN SOUS SOL, another casino heist story, taking place in Cannes - The Palm Beach Casino - not far from Monte Carlo. The overall feeling for this one is positive, without being a great film either.

Interesting to see this one regarded so highly because I found it really quite tedious. OCEAN'S 11 would shortly come along and do the same plot with much more panache, whereas this goes for the kind of dreary realism better suited to the likes of THE SPY WHO CAME IN FOR THE COLD. And I simply didn't find the scripting to be particularly enthralling. The cast is excellent, of course, the Riviera locations suitably expensive, but other than that?

Professor Edward G. Robinson assembles six cohorts for a heist on a Monte Carlo casino--but when penniless strong-arm Rod Steiger takes command of the robbery, the disparate personalities of the team come to the fore. Sydney Boehm, adapting Max Catto's novel, can't seem to decide whether to slant this derivative tale towards criminal melodrama or play it up as a lightweight diversion; bits and pieces of both emerge. The indifferent tone set by the writing may be one reason why director Henry Hathaway has staged it in a poker-faced, workmanlike manner. Talky, humorless, and oddly indifferent. Robinson coasts through on his built-in good will, Joan Collins provides the eye-candy as a cheesecake dancer (with two gratuitous numbers). *1/2 from ****

This elegant, classy and yet tense caper movie, set in the French Riviera, is an example of precise old-school Hollywood craftsmanship (the casino sets are very impressive) spiced up with elements of modernity (Joan Collins has two erotic dance numbers - she's an absolute knockout), but the ending is so laughably anticlimactic that it almost makes the entire thing a waste of time. **1/2 out of 4.

Seven Thieves is an intricately plotted and well acted caper yarn. It combines beautiful Monte Carlo setting with seven distinct characterization. A host of international professionals are on hand including Edward G. Robinson, Eli Wallach, Sebastian Cabot, Alexander Scourby, Berry Kroger, Marcel Hillaire, John Berardino, and most of all, Joan Collins and Rod Steiger. Collins, generally not one of my favorites, gives a marvelous performance, surprisingly reminiscent of Sophia Loren. Steiger starts the movie off being belligerent and one-note, so much so, that I wasn't certain I would continue watching. But, soon we gradually see why Edward G. wants him on his team so badly. Next, things get very taut and laced with whimsy and dry humor. If you enjoy caper films that make you think, watch this one.