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Although it has its amusing moments, in eneral the plot does not convince.

This movie was so-so. It had it's moments, but wasn't the greatest.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

The blatant miscasting of both Steve McQueen and Faye Dunaway is one reason why the heist movie "The Thomas Crown Affair" doesn't work for me. He's a high-class entrepenurial criminal and she's the insurance investigator who's on to him; they're like Ken and Barbie playing at being grown-ups. It was directed by Norman Jewison, hot from his success with "In the Heat of the Night" and this time he's aiming at cool. Dunaway and McQueen are cool alright but they are also all wrong. It's a clever picture that revels in its own cleverness, (and use of the split-screen), and it was a huge success but it's also not nearly as clever as it thinks it is.

"The Thomas Crown Affair", 1968, a fantastic film by Norman Jewison. Hal Ashby as an editor and associate producer made a meaningful artistic contribution to the film. A lot of people remember this film as well because of Noel Harrison's song "The Windmills Of Your Mind" (music by Michel Legrand, lyrics by Alan & Marilyn Bergman). Two wonderful actors: Steve McQueen and Faye Dunaway, and many other remarkable artists gathered together. A time when experimentation and artistic freedom brought us captivating cinematic storytelling. Exciting, cynical, extremely beautiful, delicate and humorous – until film-making felt in the hand of the corporations and their marketing departments.

Recently a movie was made called the Thomas Crown Affair. Obviously that movie was a remake of this movie. Remakes can be good at times, but in numerous cases the original film can be far superior. As I have not seen the remake, I cannot comment, but according to my sister (which I really don't hold that high when coming to movies), the remake has Rene Russo and Pierce Brosnan walking around naked for most of the time.This movie is focused around a billionaire named Thomas Crown. At the beginning of the movie is stages an excellently executed bank robbery and gets away with it. The people are contacted in rooms where they do not know who they are talking to, and then the rest of the time by phone. Nobody knows who is who, except for Crown, and all are paid from a Swiss Bank Account. The question is why does Crown, with all that money, want to rob a bank? It is easy – it is the adrenalin rush. Throughout the movie he is doing things, such as gliding, riding a dune buggy, and other such things. He doesn't need the money, and even if he doesn't get the money, he still has more than enough to hold up his end of the bargain.The police are stumped and the insurance agency is reluctant to hand over the money to the bank, so they call in one of their more controversial investigators to find out who did it, and she points out Thomas Crown. What this movie becomes is a psychological war between the investigator and Thomas Crown to force him to speak. She knows, and he knows that she knows, but he is very strong and is able to restrain from saying anything.The chess game they play emphasises the nature of the game that they are playing. She is using all of her sexuality to entrance him and force him to slip, but she has no concrete evidence and he is not revealing anything. Even though her seduction skills are good, and he falls to them, he is strong enough not to say anything.What makes this movie good is the psychological games that Crown and the investigator play. Somebody who doesn't understand the intense psychological battle of wills that occurs in this movie is going to be disappointed and find it boring. It is far from that because of the subtly of what goes on.

Steve McQueen is a filthy rich expert in securities and arbitrage living in the closest house to a palace in Boston. He and a handful of colleagues, all strangers to one another, pull off a major bank heist and make off with more than two million dollars. To recover the money, a beautiful and unorthodox insurance investigator, Faye Dunaway, is brought into the case. They fall in love, or apparently fall in love, and McQueen claims he will give the money back, since he already has all he wants.I realized by the end that some important plot points had escaped me. How come McQueen winds up with ALL the loot? Does Dunaway try to outfox him and send him to jail? And where is McQueen headed in that airliner? Does he leave Dunaway with nothing but a free Mercedes? It was directed by Norman Jewison and released in 1968, a good year for movies generally. It's stylish, yes, but the style is of the period and looks a little odd from our current perspective, like watching a 1942 musical featuring Tommy Dorsey and his band, and a lot of men in uniform jitterbugging with the bobby soxers.It isn't until Dunaway's close ups that you understand the impasto of eye make up in the late 60s. And her black eyelashes are the size of window awnings on an ordinary house. They must flap in a stiff wind. The clothes are tres chic. That's not necessarily bad. Dunaway has nice knees, but otherwise, what with hats the shape of flying saucers, she seems a sterile, odorless presence on the screen. McQueen only looks slightly uncomfortable in his three-piece suits, smoking those thin cigars or demonstrating his recklessness on a golf course.The prolonged scene of their playing chess at McQueens manse has been described as extremely sexy, a kind of foreplay or at least thirdplay, and I can see why. That's clearly what the director was aiming at. But if you're not particularly turned on by either Dunaway's or McQueen, or their characters, it turns into an extended chess match, and that's all.The musical score is of the period too. Very sophisticated in a jazzy and romantic way with Burt Bacharach vocals like ba-ba-dee ba-ba-dumb of the sort that were popular at the time. They are even more pronounced in "Butch Cassidy and the Sundance Kid." The score isn't at all objectionable. I kind of like it. But the faddish split-screens, ripped off from Andy Warhol's "Chelsea Girls" and infecting the screen for the next couple of years, is a distraction and a major nuisance.It's not a terrible movie. Some of the supporting players are quite good and the viewer gets a nice tour of Boston and environs. And it must have been successful because they recently remade it, just as Hollywood now remakes every movie that ever made a nickel. Movies are now based on television sitcoms or adventures, cartoon series, comic books, video games, and earlier successes. If we live long enough we should all witness a remake of Porter's "The Great Train Robbery" from 1903.