In her third and final film with William Wyler, Audrey Hepburn did a most stylish caper comedy in How To Steal A Million. Despite the title being a complete misnomer because it's not about currency, francs, pounds, or dollars, the film is a delightful romp from start to finish.
Things are about to come crashing down around the family business of art forgery that Hugh Griffith and daughter Audrey have been carrying on. A statue of Venus that Cellini supposedly did, but is a forgery that Griffith's father did some years ago is about to undergo some routine tests that were not available years ago. They will certainly disclose that the statue is a fake and while Griffith's business is forging paintings instead of sculpture the authorities might start looking him over as well.
In fact when Hepburn catches gentleman cat burglar Peter O'Toole trying to steal a Van Gogh, she actually lets him go lest the Van Gogh be investigated. Later on she looks him up when she hits upon a plan to steal the 'Cellini' statue from the museum and might have need of O'Toole's skills in such matters.
The caper part of How To Steal A Million is the most fun and I won't say a word about it except that O'Toole hits on a really good idea involving the use of a toy boomerang. The whole caper nearly boomerangs as well as Hepburn and O'Toole have to spend some considerable time in a museum broom closet where they get better acquainted.
That part of the film also calls for Hepburn to get rid of the Givenchy gowns she was known for and wear the simple dress of a museum cleaning lady. Audrey still looks good in that.
Hepburn and O'Toole have some really nice chemistry, a pity they didn't do more films together. Hugh Griffith is a favorite character actor of mine, he has the wildest and most expressive eyes of any player in history. Griffith can do more with one upturned brow than Olivier can with a page of dialog. Audrey and Hugh both appeared in William Wyler films before and received Oscars for their performances, Audrey in Roman Holiday and Hugh in Ben-Hur. Audrey also did The Children's Hour with William Wyler as well.
And looming over all is the city of light, Paris which should have received some billing as well. Then again, that city never gives a bad performance on film.
Things are about to come crashing down around the family business of art forgery that Hugh Griffith and daughter Audrey have been carrying on. A statue of Venus that Cellini supposedly did, but is a forgery that Griffith's father did some years ago is about to undergo some routine tests that were not available years ago. They will certainly disclose that the statue is a fake and while Griffith's business is forging paintings instead of sculpture the authorities might start looking him over as well.
In fact when Hepburn catches gentleman cat burglar Peter O'Toole trying to steal a Van Gogh, she actually lets him go lest the Van Gogh be investigated. Later on she looks him up when she hits upon a plan to steal the 'Cellini' statue from the museum and might have need of O'Toole's skills in such matters.
The caper part of How To Steal A Million is the most fun and I won't say a word about it except that O'Toole hits on a really good idea involving the use of a toy boomerang. The whole caper nearly boomerangs as well as Hepburn and O'Toole have to spend some considerable time in a museum broom closet where they get better acquainted.
That part of the film also calls for Hepburn to get rid of the Givenchy gowns she was known for and wear the simple dress of a museum cleaning lady. Audrey still looks good in that.
Hepburn and O'Toole have some really nice chemistry, a pity they didn't do more films together. Hugh Griffith is a favorite character actor of mine, he has the wildest and most expressive eyes of any player in history. Griffith can do more with one upturned brow than Olivier can with a page of dialog. Audrey and Hugh both appeared in William Wyler films before and received Oscars for their performances, Audrey in Roman Holiday and Hugh in Ben-Hur. Audrey also did The Children's Hour with William Wyler as well.
And looming over all is the city of light, Paris which should have received some billing as well. Then again, that city never gives a bad performance on film.