Charles Bonnet (Hugh Griffith) is a forger of classic works of art who has been able to make a minor fortune from his dedication to his duplicity, while his daughter, Nicole (Audrey Hepburn), is concerned about the risk her father is taking. New methods of forgery detection are emerging all the time and she knows that the penalty for the discovery of the truth would be severe. Her worries turn out to be well-founded as, during the course of a sale, her father is advised that he must insure an item which is currently on display at a public museum, the value of which is one million dollars. As part of the terms of the insurance, the item will be forensically studied in order to fully establish its veracity. Such a procedure will surely expose Charles once and for all.
Alongside these events, a mysterious man named Simon (Peter O'Toole) breaks into the Bonnets' apartment. He appears to have a particular interest in one of Bonnet's paintings. Nicole catches him in the act and, from that moment, an unlikely alliance is formed as Nicole discovers that Simon may just be the man the family needs.
Following very much in the footsteps of a film Hepburn had previously stared in, Charade, How to Steal a Million captures elements of the 1930s screwball comedy spirit and blends them with the tension of an entertaining thriller. The comedy mainly comes from the interactions between Hepburn and O'Toole. Classically trained O'Toole and instinctively charismatic Hepburn have a natural comedic chemistry and, thus, play off each other highly amusingly and, at times, even charmingly. The initial meeting between their characters occurs with Nicole appearing in a nightgown and armed with a musket. A following meeting sees Nicole absurdly clad in a black mask-shaped veil with a black widow's dress to match. In the most unsubtle of subtle manners, she asks Simon whether he'd be interested in a "big-time caper".
The most memorable section of the film, however, and the part which generates the most tension, sees Nicole and Simon essentially locked in a storage cupboard for the best part of half an hour of the movie's run-time. They are attempting to steal a highly valuable object and must evade detection from the security forces. It is a brilliantly rendered piece of cinema which draws on James Bond style improbable antics and super-charges the development of the relationship between the two leads. It's amusing enough to be entertaining and just about probable enough to keep you highly engaged.
Despite the stakes in the film constantly remaining high, there is a genuine skill to the way in which it is able to maintain an overall light-touch to the proceedings. This is partly achieved by having a major focus on its style alongside its content. Hepburn's wardrobe is oft discussed when it comes to her movies but this film self-consciously makes her couture a central character. For the first time on camera, Hepburn steps away from her classic, timeless Breakfast at Tiffany's type attire and is gloriously adorned in the mod fashion of the day. Her visual presence is used to consummate effect as she looks every inch a style icon of the swinging '60s. A direct reference to Hepburn's relationship to fashion is made during a later part in the film, when Nicole is required to disguise herself as a washerwoman, Simon wittily remarks "It'll give Givenchy the day off". Alongside Hepburn's wardrobe, the film is generally full of rich deep colours and stylishly quirky cars, all of which provides a classic '60s feel. Though very much appealing to its time, the film rarely feels dated, the freshness of the performances, the sprightliness of John Williams' score and the audaciousness of the plot have the capacity to continue to engage modern audiences.
Notwithstanding the above, by the end of the film, there are a few loose ends with the characters' stories which don't completely satisfy and there is also the inclusion of characters who fail to add much to the proceedings. Eli Wallach, in particular, is wasted as an impulsive, art-obsessed millionaire, while Hugh Griffith deserves more screen-time as the man who is essentially the sympathetic villain of the piece. Yet, overall, the film is a highly entertaining and engaging watch and showed that, despite recording almost 15 years as a lead actress at this point, Hepburn continued to be a master of visual reinvention. Her character, on the other hand, was very much familiar, although there is a special naivety and benign subversiveness included as part of her performance here. She goes from constant fear regarding her father's crimes to gaining far too much enjoyment from those of her own. And then, of course, there is disarming way she delivers the killer line "You don't think I'd steal something that didn't belong to me, do you?"
Alongside these events, a mysterious man named Simon (Peter O'Toole) breaks into the Bonnets' apartment. He appears to have a particular interest in one of Bonnet's paintings. Nicole catches him in the act and, from that moment, an unlikely alliance is formed as Nicole discovers that Simon may just be the man the family needs.
Following very much in the footsteps of a film Hepburn had previously stared in, Charade, How to Steal a Million captures elements of the 1930s screwball comedy spirit and blends them with the tension of an entertaining thriller. The comedy mainly comes from the interactions between Hepburn and O'Toole. Classically trained O'Toole and instinctively charismatic Hepburn have a natural comedic chemistry and, thus, play off each other highly amusingly and, at times, even charmingly. The initial meeting between their characters occurs with Nicole appearing in a nightgown and armed with a musket. A following meeting sees Nicole absurdly clad in a black mask-shaped veil with a black widow's dress to match. In the most unsubtle of subtle manners, she asks Simon whether he'd be interested in a "big-time caper".
The most memorable section of the film, however, and the part which generates the most tension, sees Nicole and Simon essentially locked in a storage cupboard for the best part of half an hour of the movie's run-time. They are attempting to steal a highly valuable object and must evade detection from the security forces. It is a brilliantly rendered piece of cinema which draws on James Bond style improbable antics and super-charges the development of the relationship between the two leads. It's amusing enough to be entertaining and just about probable enough to keep you highly engaged.
Despite the stakes in the film constantly remaining high, there is a genuine skill to the way in which it is able to maintain an overall light-touch to the proceedings. This is partly achieved by having a major focus on its style alongside its content. Hepburn's wardrobe is oft discussed when it comes to her movies but this film self-consciously makes her couture a central character. For the first time on camera, Hepburn steps away from her classic, timeless Breakfast at Tiffany's type attire and is gloriously adorned in the mod fashion of the day. Her visual presence is used to consummate effect as she looks every inch a style icon of the swinging '60s. A direct reference to Hepburn's relationship to fashion is made during a later part in the film, when Nicole is required to disguise herself as a washerwoman, Simon wittily remarks "It'll give Givenchy the day off". Alongside Hepburn's wardrobe, the film is generally full of rich deep colours and stylishly quirky cars, all of which provides a classic '60s feel. Though very much appealing to its time, the film rarely feels dated, the freshness of the performances, the sprightliness of John Williams' score and the audaciousness of the plot have the capacity to continue to engage modern audiences.
Notwithstanding the above, by the end of the film, there are a few loose ends with the characters' stories which don't completely satisfy and there is also the inclusion of characters who fail to add much to the proceedings. Eli Wallach, in particular, is wasted as an impulsive, art-obsessed millionaire, while Hugh Griffith deserves more screen-time as the man who is essentially the sympathetic villain of the piece. Yet, overall, the film is a highly entertaining and engaging watch and showed that, despite recording almost 15 years as a lead actress at this point, Hepburn continued to be a master of visual reinvention. Her character, on the other hand, was very much familiar, although there is a special naivety and benign subversiveness included as part of her performance here. She goes from constant fear regarding her father's crimes to gaining far too much enjoyment from those of her own. And then, of course, there is disarming way she delivers the killer line "You don't think I'd steal something that didn't belong to me, do you?"