Customer Reviews

How to Steal a Million

5 star:		(69)
4 star:		(26)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

I love this movie. It has everything: romance, comedy, quirkiness and a kissing-in-a-closet scene! Audrey Hepburn was as adorable and entertaining as ever, and this was the first time that I'd ever seen a Peter O'Toole movie and he was fabulous! He's extremely funny and pretty darn spunky! You could just instantly fall in love with him, the second you saw those bewildered round blue eyes peering over the top of the "Van Gogh" painting. I didn't find this movie boring for an instant and I loved watching them steal back the "Cellini" sculpture, using, amongst other things, a bucket, a magnet and a boomerang! I think that this is now my favourite Audrey Hepburn movie. They make an extremely likable couple and their exploits in "How To Steal A Million" are engaging and engrossing.

Charles Bonnet, Nicole Bonnet's incorrigible father, makes a living forging long-lost masterpieces and then selling them at auctions or to private collectors, such as American business magnate David Leland. Bonnet's quite a character and is an artist, albeit a forger, living the moment, but also being the artist. When he paints a Van Gogh, he IS Van Gogh. Nicole is exasperated, worried that he'll be caught and sent to prison. Charles' flippant response is "The trouble is, you're so honest." So when he authorizes the loan of the prize of his collection, the Cellini Venus, a copy of it sculpted by her grandfather which her grandmother posed for, Nicole thinks her father has flipped his wig. It is worth a million dollars--hence the title.

What Nicole dreads the most occurs when the museum announces that one Professor Bauer will be conducting tests to determine the statue's authenticity. To that end, Nicole enlists the aid of Simon Dermott, a burglar she caught in her father's house trying to steal a Van Gogh (fake, of course), to steal her father's sculpture to save him from being jailed for fraud. She doesn't tell him the real reasons, of course. Dermott thinks it's a crazy idea, given the high-tech security devices and the numerous police detail milling around the museum, but combined by Nicole's persistence and her charm, finally gives in. But just what does he hope to accomplish with a toy boomerang?

The actual heist and scenes in the museum are worth waiting for, as that's where the exciting parts are. The cramped quarters in the broom closet underlines the tension of two people scared that they'll be caught, although it furthers the budding romantic storyline. And Dermott's ingenuity is well demonstrated. As he says, "wait for normal human reaction." A particular comical touch comes in the form of a portly museum guard who has a large mustache and quite a fondness for the bottle. Oh, and that alarm is pretty annoying, so beware!

Audrey's Givenchy fashions become ridiculously funny, such as the pillbox hat and large-rimmed sunglasses in her opening scene, and even becomes a point of parody when Dermott remarks at Nicole dressed as a cleaning woman, "It Givenchy a night off." As it turned out, one night turned into thirteen years, as Givenchy was pressed back to work for Bloodline.

The last comedy Audrey acted in, How To Steal A Million, originally titled Venus Rising, was the third and last film Audrey did for William Wyler, after Roman Holiday and The Children's Hour. It was also the first time Hepburn acted with a leading man closer to her own age since Anthony Perkins in Green Mansions, Peter O'Toole being three years her junior. Her wide expressive eyes and that winning smile are put to good use here. And she does have a great line: "You don't think I'd steal something that didn't belong to me?"

Hugh Griffith is fun to watch as the rascally Charles Bonnet, with the same bulging eyes, funny hair, and goatee. O'Toole (Simon) is also an asset, suave, calm, clever, and quick with one-liners. So is Eli Wallach (Leland), an excitable and impulsive millionaire with his sights on the Venus. And Jacques Marin, who is the befuddled senior museum guard, previously appeared with Ms. Hepburn in Charade, as the chief of police.

Panned when it first came out, I'm not sure why this doesn't hold out even today. Hepburn herself acted in it because she felt indebted to Wyler, who made her what she became, but at least she had fun with O'Toole, as the two were gigglers and many takes had to be required, especially in the broom cupboard scene. It's an enjoyable and frantic caper film, a genre popularized by Topkapi six years ago.

This movie I give a solid four stars, but Peter O'Toole gets five because it's the most I could give. (Hey amazon, how about a little room for upward adjustment under extenuating circumstances like these?)

I'm an Audrey fan and she's her usual delightful self in this movie, no longer the ingenue but every bit as lithe and fetching as ever. She was a dazzler, but in Peter O'Toole she met her match. He is something else -- the Jude Law of his day, I suppose! (The highest of high compliments I give). In "How To Steal A Million" O'Toole is suave and self-assured but never arrogant ... spectacularly good looking (hey, it's not his fault) ... witty but flawed, not what he seems and in the end, you're glad of it. He can burgle my objects d'art any day!

The movie also has that very "1960's" look and feel to it that allow you to time travel, but not so far back you feel as though you've been whiplashed when it ends. The '60's were in many ways more modern than the '70's, and played against the backdrop of Paris those burgeoning modern sensibilities find an excellent foil. Audrey is her usual "au courant" self, except for one scene in which she has to play a cleaning lady. Like Liza Doolittle, she would shine through a burlap sack.

O'Toole and Hepburn are very, very winning here. The assorted cast of characters are daffy but mostly harmless, and if I'm not completely mistaken, the movie does poke gentle fun at the French. (Not that terribly difficult to do, but then again we re-elected ... oh, never mind).

Was there ever another actress to compare with Audrey Hepburn? She combined all the ideal qualities of what a skilled, beautiful, and totally charming actress should be in the one gorgeous package. Indeed in William Wyler's sophisticated heist film "How to Steal a Million",she has never been more gorgeous and appealing while displaying that totally unique and special talent that was solely her own and has never been duplicated by another actress.

Released in 1966 at the height of the "mod" period, "How to Steal a Million", in alot of ways is very much of it's time and this probably explains why this film is perhaps not as well known as other films of both Audrey Hepburn and Peter O'Toole. This is unfortunate as the pair make a superb romantic comedy team and combine excellently in this slick and very chic story set in the most beautiful of cities, fashionable Paris. "How to Steal a Million", tells the story of Nicole Bonnet (Hepburn) who is the glamourous and very mod daughter of art collector Charles Bonnet (Hugh Griffith is a delightfully eccentric performance) who is what could be described as a lovable rascal and spends his time forging great art which he then sells to unsuspecting but wealthy art enthusiasts. Complications however arise when one of Monsieur Bonnet's "masterpieces", a statue of Venus supposedly carved by famed Italian artisan Cellini in the sixteenth century, but in reality a modern work by Nicole's grandfather, is put on display in a Paris Museum. The problem however here is that for insurance purposes the work must be inspected by a world famous expert on authentic works of art and their dating which would threaten to expose Ms. Bonnet for the fraud that he is,lovable or otherwise! Nicole concocts a wild scheme with the collaboration of supposed society thief Davis Leland (Peter O'Toole in a marvellously sophisticated performance),to steal the statue from the museum before her father is exposed as a fraud. Along the way the pair, in between scampering around museum interiors and hiding out in broom closets find themselves falling in love. What unravels is a totally delightful caper comedy with marvellous screen chemistry between Audrey Hepburn and Peter O'Toole in their only appearance together. Audrey is beyond comparison as the chic Givenchy lady about town who gets involved in the museum robbery. Her outfits are a total dream, and her mod hairstyles and sunglasses are just right for this charming 1960's story with its rich Parisian settings. Peter O'Toole displays a great talent for sophisticated comedy and as is often the case in such stories turns out to be not exactly what he first seems to be when we first encounter him trying to "steal" one of Charles Bonnet "Van Gogh's".

The cast of "How to Steal a Million", is rounded out in a very funny performance by Eli Wallach as a fanatical art collector who has his sights set on the "Cellini" Venus and wants it no matter what lengths he has to go to, even proposing marriage to a very reluctant Nicole! Veteran heart throb Charles Boyer provides the necessary authentic French atmosphere in a small role as Charles De Solnay , O'Toole's boss who has his own interest in the Bonnet family. The film is a rich snapshot of all things beautiful and sophisticated in 1966 Paris from the wonderful on location photgraphy, Audrey's stunning fashions, all the beautiful art on display and museum interiors. The film has been accused of being "too perfect" in some respects but the story never pretends to take itself seriously and its look is what stays in the mind. Indeed I have a hard time imagining such a fashionable couple as Hepburn and O'Toole in any other setting! Directed at a nice pace by veteran William Wyler who guided Audrey Hepburn through the classic "Roman Holiday", and the sadly underappreciated "The Children's Hour", Wyler manages to combine romance with high slap stick as seen in the very amusing scenes when the alarm protecting the Venus is set off prompting an almost "Keystone Cops" routine by the French Police arriving time after time for what are false alarms at the museum.

With the absense of elegant comedy with beautifully dressed people in elegant settings nowadays movies like this one are like a glass of water in the desert. I love most sophisticated comedies and while not the best ever made, if you love Paris and Audrey Hepburn like I do you can't help but be enchanted by William Wyler's "How to Steal a Million". Open the champagne and sit back and enjoy!

HOW TO STEAL A MILLION is one of the best comedies ever
made!Overflowing with wit,charm,romance and the PERFECT cast!
Audrey Hepburn is delightful,as usual! Peter O'Toole's enchanting
blue eyes,magnificent voice and charming personality left me
spellbound.HILARIOUS performance by Hugh Griffith and supporting
cast!
Never in my life has two hours gone by so quickly,every second
was completly enthralling.The plot,cast,cinematography,music,
everything,FLAWLESS.It is impossible to praise this movie
too much!I wanted to fall into the screen and become a part
of it!I only wish real life could be so much fun!
I recommend HOW TO STEAL A MILLION to EVERYONE!

William Wyler's "How to Steal a Million" is the very best Stanley Donen picture that Stanley Donen didn't happen to make--just as Donen's "Charade," also with Audrey Hepburn, is the very best Hitchcock picture that Hitchcock never made.

This is a truly stylish film. "How to Steal a Million" looks like ten million ... a hundred million ... aw, in this inflationary era, let's call it a billion bucks on the screen. Hepburn's roughly two hundred costume changes, her preposterous little car, her hats, her chateau, and everything else shout that this is what the (expensively) good life looks like. In one scene, O'Toole invites Hepburn--for once looking a bit dowdy--to come as she is. "Give Givenchy the night off," he says.

A quick glance over the previous Amazon reviews shows that those who know and care about this film use the language of people discussing a classic. And yet, whatever its considerable merits, "How to Steal a Million" was not a particular success at the box office when it first appeared nor is it widely remembered today.

I can only speculate why this should be. Perhaps it was the proximity of "Charade." Good as this film is, "Charade" was better--a tighter script, a better balance between thrills and comedy and the overwhelming presence of Cary Grant. O'Toole has always been excellent in comedy, but his part in this film is unquestionably a Cary Grant part and nobody did those as well as the old master, Archie Leech, himself. On the other hand, it may be that "How to Steal a Million" is a Willy Wyler film and it doesn't feel right or entirely at home among that director's works. Somehow I doubt that Wyler's many admirers are likely to list this one high among his masterworks. Or maybe it came out when the public was satiated with well-acted, lavishly produced, well-made films and it just fell between the cracks.

Whatever the reasons for its present semi-obscurity, "How to Steal a Million" is a gem and highly recommendable to anyone who believes that quality in movies extends beyond CGI effects and stuff blowin' up real good. Five stars!

A NOTE ON CHANGING TIMES: When I saw this movie during its first run, along with everyone else in the theater, I thought a million dollars was a lot of money. Just listen to the 1960s prices quoted for major works of art; they are laughable today--and a little sad, too.

A FURTHER NOTE ON MARKETING: This is a movie about high-end art forgery. It is filled with exquisite paintings and sculptures in almost every scene, all of which were forged for the movie. Part of the publicity campaign for "How to Steal a Million" was a public exhibition of the forged artworks.

I watched this film for Audrey Hepburn but was instantly charmed by Peter O'Toole. His performance is perfect, and he simply oozes charm. Add a pair of cute goggly blue eyes peering with startled admiration over the edge of a fake Van Gogh, and you've got a great hero. And I thought that Audrey Hepburn, for all her thirty-seven+ years, fake eyelashes and goggle-eyed sunglasses, was very cute and more or less convincingly portrayed a sweet young thing. Her sixties look is a great example of the fashions of that time. The third cute member of the cast was O'Toole's car. This is the perfect movie to watch in the evening with a martini.

I don't know why this movie is not better known than it is. In my opinion it is one of those classic 60's comedies. Audrey is divine as usual in her dress and style. O' Toole is gorgeous with his blue eyes and soft English voice (sigh) the dialogue is so catchy, witty and intelligent. Art lovers everywhere should appreciate all the obvious (and obscure) innuendos that zig from Audrey to Peter, Peter to Charles Boyer, Audrey and Hugh Griffith (her father in the movie).

Lovely movie that shows a wonderful and beautiful pictorial of 60's Paris. The story a young women (Audrey) lives with her father in France. Her Papa is a forgerer of Art, his father before him did the same. Her father lends his "Venus" to a museum for a exhibition in order for the museum to do this he must sign Insurance papers in case of theft, it is insured for 1 million dollars after signing the papers the clerk tells him that it will be authenticated for the purpose of the museum... upon hearing this her father (as well as Audrey) flips out since they both know the statue is not real but a fake done by his father. Audrey must devise a way to get that statue back before the museum has it examined. As luck would have it Audrey meets a cat burglar who was in the act of (she thinks) breaking into her house.. played by Peter O'Toole she asks O' Toole to help her in this caper and eventually he agrees.

I won't tell much more than that as the reviews before me did a wonderful job of telling the details. I will say this I found it delightful, charming and very SMART in it's carefully placed "zingers" :) Eli Wallach as the american that is enamored but the Venus AND Audrey was funny too really good Sunday movie.

Respectfully Reviewed

How to steal a million was a light-hearted farce starring too skilled performers in their own right. Audrey Hepburn is delightful as the sweetheart bedazzled by Peter O'Toole an expert in forged art works. The two have you rooting for them in their improbable caper. Once you remind yourself that this is all just healthy fun than you can enjoy their performances. Greed becomes almost a worthy attribute as they endeavor to outwit the perfect security system guarding unknowingly a fake artwork. It is all good fun as the security system is foiled without harming a hair on anyone's head. Dishonesty doesn't enter your mind as the caper comes to a pleasant climax. Everyone ends up with their reputation intact and some spare change jingling in their pockets. The two stars are engaging and carefree and are so effortless in their actions that they are a joy to watch. Mind candy doesn't necessarily have to rot your brain. It can give you some mindless enjoyment on a quiet night.

How to Steal A Million was one of several elaborate heist comedies that formed sort of a subgenre in the 60's (Topkapi and Gambit to name a few others) This was Hepburn's first film after My Fair Lady and marked her last collaboration with William Wyler (who directed her in her Oscar winning role in Roman Holiday and The Children's Hour). Set in Paris, the tale involves a daughter (Hepburn) who hires who she thinks is an art thief (O'Toole) to steal back a statue sculpted by her art forger father (Hugh Griffith) before museum authorities test it for authenticity. The film is light and breezy, if a bit slow paced in the beginning. Neither Hepburn or O'Toole is required to do much acting, but they have star quality in spades and that elusive cinematic term called CHEMISTRY that is all this movie requires. Lots of eye catching Parisian locations, fashions and production values make this entertaining piece of fluff very easy to enjoy. The closet scene is a classic and Hepburn wearing washerwoman's clothes is a wonderful cinematic joke! (She even manages to look chic in that get up!) John Williams, pre-Jaws, provides a catchy score. They dont make movies like this anymore.........NOW IF ONLY FOX WOULD RELEASE TWO FOR THE ROAD ON DVD! This was one of Hepburn's finest performances and films and its shameful of Fox to keep it in their vaults!