Larceny in Technicolor - 5 Ultra Cool Euro-Heist Flicks

I am a fan of all manner of crime flicks throughout the 20th Century from the gritty pre-code classics to the operatic Hong Kong gangster stories but I have always held a deep affinity for a swinging 60s Euro-heist. Immaculately styled capers featuring impossibly cool casts set against locales from the golden age of travel. I imagine my enthusiasm for this genre is somewhat akin to what James Bond fans feel — I just have an easier time rooting for thieves than I do for government agents. Maybe it's the Summer vibes and thoughts of taking a holiday but I've had heist flicks on the brain again. The following are some of my absolute favorites in this vein and the films I often find myself recommending to the curious or people stuck talking to me at cocktail parties.

Topkapi (1964) — Jules Dassin may not have invented the heist film with his unimpeachable 1955 classic Rififi but he very well may have perfected it. After Rififi’s breakout international success Dassin made a succession of European films outside of the crime milieu before returning to the genre with Topkapi. A much lighter affair than its predecessor, Topkapi makes explosive use of color and employs humor in the place of noir stylings. Peter Ustinov co-stars as the unwitting accomplice (schmo) to an international crew of master thieves looking to steal a jewel encrusted dagger in Istanbul. Despite the riot of sound and color on display for most of Topkapi’s runtime, the films highlight is a near silent burglary sequence crammed with white-knuckle tension. It's corny in parts and the plot doesn't make all the sense in the world, but I get swept away by Topkapi every time I watch it. 

Any Number Can Win (1963) — An absolutely gorgeous heist picture from Henri Verneuil featuring the first collaboration between cinema titans Jean Gabin and Alain Delon. Gabin plays the veteran crook who recruits Delon’s hotheaded rookie to help rob a casino on the French Riviera. The dynamic between the two is a lot of fun to watch and the actual heist sequence is excellent. I’ve always thought Verneuil had a real gift for framing a sequence and Any Number is no exception. The extended sequence of Delon trying to nonchalantly pass bags of stolen loot by the pool as police descend on the resort is perfection. More Gallic cool than crazy caper, Any Number oozes style from Michel Magne’s jazz score to the Cannes locale. As of this writing there is no in-print physical copy of Any Number Can Win available in the US and that’s a more serious crime than any robbery.

Grand Slam (1967) — Giuliano Montaldo’s international caper flick is a breezy, idiosyncratic affair that features a ridiculously fun score from Ennio Morricone and a wild cast including Janet Leigh, Edward G. Robinson, George Rigaud, Klaus Kinski, Adolfo Celi, and more. The set up is an assembled multinational crew of experts who plan to rob a bank in Rio de Janeiro during Carnival season. This is another fantastic heist sequence that is nearly wordless and involves close to 30 minutes of rappelling, suction cups, electric eyes, telescoping ladders, and the titular Grand Slam 70 alarm system. Some of the narrative twists and turns are a little hard to swallow but Grand Slam more than delivers on sweaty palmed tension. The actual footage of Carnival in the 60s is a genuine treat as well.

Gambit (1966) — Ronald Neame’s heist comedy employs a gambit of its own but manages to be clever enough to get away with it. The film was advertised with the line “Go Ahead: Tell the End (It's Too Hilarious to Keep Secret) But Please Don't Tell the Beginning!" Which hopefully is enough to dissuade you from reading too much about the plot. It also contains some elements which we’d call out as problematic in a modern context — Shirley MacLaine plays a woman of European and Asian descent while Harold Lom plays a Middle Eastern man from a fictional country. If you’re still able to appreciate Gambit as a product of its time; there’s abundant charm, wit, and tension to enjoy. Michael Caine plays a burglar, Harry Dean,  who recruits MacLaine’s Nicole Chang in a Hong Kong nightclub to help him rob a priceless statuette from the incredibly private and wealthy Ahmad Shahbandar (Lom). Dean believes they can use Chang’s resemblance to Shahbandar’s late wife to gain access to his penthouse and consequently his art gallery so that the statue can be stolen. I don’t want to say much more other than this is probably worth your time just to see 1960s Caine and MacLaine play off of each other. They are both delightful and look amazing. Definitely more of a comedy with a less technical heist than the other films on this list but still delivers some legitimate suspense. 

The Sicilian Clan (1969) — Another Verneuil film and another one featuring Delon and Gabin with the addition of this blog’s favorite actor — Lino Ventura. The Sicilian Clan was a large-budget affair that was shot both in French and in English (reportedly a source of consternation for Gabin who felt he should be paid twice) and had a wide international release. Beyond its marquee power Sicilian Clan features a phenomenal Morricone score and was shot by the master French cinematographer Henri Decaë. Delon plays a thief who manages to escape police custody in a thrilling sequence with the help of the Italian crime family led by Gabin. The new allies reach an uneasy agreement to rob a jewelry exhibition and Ventura plays a gruff police inspector determined to re-apprehend Delon and uncover the criminal plot. Between the firecracker opener and an epic finale, Sicilian Clan brings the temperature down to a simmer. The focus is frequently on the interpersonal relationships — the crime family dynamic, the outsider vs. the in-group, an affair, and the professional rivalry between Gabin and Ventura. It’s all done with consummate professionalism and intricate detail, though. It’s an absolute must-see for French crime cinema enthusiasts.