I feel like I've stopped re-watching films as much as I used to since I joined letterboxd, like I have…
How to Steal a Million
A movie about those who appreciate the finest things in life... for free!
A woman must steal a statue from a Paris museum to help conceal her father's art forgeries.
This review may contain spoilers. I can handle the truth.
I had a bit of trepidation going into the screening this evening. I had recently seen Charade, and while I really wanted to love it, I couldn’t give it my heart completely because the chemistry between Hepburn and Grant just wasn’t there for me. Also, the notoriously unreliable IMDB rating for Charade is much higher than How To Steal A Million. Gulp.
Charming, surprisingly not psychedelic, credits roll, and I see the leading man is Peter O’Toole. I love Peter O’Toole. Things are looking up.
Enter Audrey. Wow, and the little red Fiat was pretty damn cute too. Just the way she speeds into her father’s courtyard sets the ‘devil may care’ tone that I love so much.
Nice amusing way to spend two hours. Not so much laugh out loud as smile and enjoy the company of Audrey Hepburn and Peter O'Toole.
Hepburn's father is an art forger and he has loaned a statue to a museum. Meanwhile, O'Toole tries to steal a painting from Hepburn and her father's house. However, he only takes a piece of paint to test. Since she doesn't want to call the police and bring attention to her crooked father, she takes the thief home.
An expert is coming to examine the fake statue on display at the museum for the insurance company, so father and daughter panic. She finds the thief and convinces him to help her steal the statue.
Like I said an enjoyable farce with some witty lines and director William Wyler is very fond of Audrey's legs.
Audrey Hepburn and Peter O'Toole are adorable. The story, involving the theft of a million dollar statue from a museum in order to keep an old forger out of prison, was silly but fun.
Honestly, the main attraction of this film is its leads in Audrey Hepburn and Peter O'Toole as well as its director, the great William Wyler. Otherwise this film is a light, fluffy, silly caper comedy with a touch of drama. It falls somewhere in between a rom-com and a art heist film where everyone in Paris speaks English. Go figure.
There's not much else to say right now except Hepburn and O'Toole are fun together while the score of a young John Williams has a recognizable bounciness. Hugh Griffin seems slightly out of place to be Hepburn's father and the film is far from pulse-pounding but these small facts do not negate the charm of this film.
Peter O'Toole: [looking at a nude scupture] "Where precisely were you in the early part of the sixteenth century?"
Audrey Hepburn: "I don't know, but that's not how I was dressed."
A romantic comedy -slash- heist film, How to Steal a Million merges the genres as only the 1960's can. It's gorgeous: colorful and stylish almost to the point of gaudiness. Audrey Hepburn and Peter O'Toole charm as they scheme to steal a statue from one of the top museums in Paris.
Delicious and sweet. It's a lovely dessert film that could probably be 20 minutes shorter with no real harm.
The heist film as romantic comedy with Peter O'Toole and Audrey Hepburn providing both the romance and the theft. Charming.
Hepburn and O'Toole are amazing together, and there's some good stuff in here. Still, I couldn't help but feel like there was a lack of suspense and surprises for me (or, at least, not enough). Good enough.
What's not to like?
A charming, humorous classic that perfectly combines romance with a clever art heist. The wonderful Audrey Hepburn and the indefatigable Peter O'Toole are fantastic, with an excellent supporting cast. Hugh Griffith had great comic timing as the art forging father of Hepburn. All in all, a genuine steal.
Beautiful as always
This is one of those films that goes to show if you have two screen legends like Hepburn and O'Toole on the screen, you can really just make a movie around their individual talents and paired chemistry. Does it mean the movie will be great? Nope, far from it. But damn it if it isn't enjoyable.
Charade is one of my all-time favorite films and I hoped in viewing How To Steal Million that it would scratch some of that same itch – and boy, did it ever. Audrey Hepburn is, of course, as ravishing as ever, and her character here is just a bit more warm and fun as the anxious daughter of a lovable con artist who has built his considerable reputation and fortune on his own art forgeries.
She makes a great pairing with Peter O’Toole, and their strange relationship as adversaries-turned-lovers just oozes with terrific chemistry and razor-sharp wit. O’Toole’s delivery of silver-tongued humor is second to none, and it’s a shame this was their only film together.
The film’s plot is a bit silly and contrived, but the imaginative details of their caper to steal a “million-dollar” forgery (lest it become exposed) are a pleasure to watch, and sometimes quite clever, even if they strain suspension of disbelief.
I love movies with great character entrances, and How to Steal a Million has one of the best. Watching Peter O’Toole lower the fake Van Gogh covering his face to slowly reveal his dazzling blue eyes, you can’t help but think, “Wow, this movie is going to be excellent."
Audrey Hepburn and Peter O’Toole just might be the most adorable couple ever put on screen. So witty, beautiful, charming, and classy. Seriously, every one of their interactions is simply delightful. It kind of reminds me of one of those old screwball comedies from the 1930s, with quips from Hepburn like, “You don't think I'd steal something that didn't belong to me, do you?” It’s every bit as wonderful as you would want a classic romantic comedy to be.
Fairly light fare that takes a while to get going, but once it settles into its heist path the film's enjoyment factor grows exponentially. A decent mix of romance, comedy, and heist action (i.e. the ingenuity).
The main qualm would have to be Hepburn's character - a bit too subservient when in the presence of O'Toole's Dermott - becoming a gelatinous pile of whatever you say-obediency, taking smitten to a whole new level; especially, towards the tail-end of the film wherein she is practically ushered from place to place by Dermott's firm grasp of her bicep.
I intended to finish off my few ongoing lists before I got to this one, but for various reasons decided…
I still have a few films to see, including one major feature from the peak period of her career (Wilder's…