Watch Seven Thieves For Free

I like the storyline of this show,it attract me so much

Very very predictable, including the post credit scene !!!

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

By the time the dramatic fireworks start popping off, each one feels earned.

The crime caper was a very popular genre back in the 1950s and 60s and a ton of these films were made. There were some wonderful examples, such as "Rififi", "Bob le Flambeur", "The Killing" and "Grand Slam", and some weaker ones and "Seven Thieves" is, at times, a poor one--and could have been so much better. Sure, it's got all the needed things for a caper film--an exotic location on the French Riviera, a complicated and interesting plan and some decent acting (at least in some cases). However, it fails because of one major problem--the dialog was, at times, simply dreadful and full of clichés. Now this did not occur to a the characters but was a severe handicap with the movie's lone lady, Joan Collins. While I am sure she could act, here she isn't given a lot and her character is stupid. She plays a stripper. Yet, she plays a 'stripper with a heart of gold'--a giant cliché if I've ever seen one. What bothered me much more was during her angry exchange with 'method burglar' (Rod Steiger)--it made no sense and having her being caught in many outright lies and his reaction just made no sense at all--nor did her faux petulance. You see, in this dumb scene, despite agreeing to take part in a HUGE robbery, she insists that she's a nice girl from a nice family! What the heck!? Was the writer on pot?! You really have to see it--it's REALLY bad...so bad that I felt sorry for Collins, because she is more a pretty piece of furniture than a person in much of the film. None of the men were given such silly and weak characters to play. As I also said, Steiger plays a method actor playing a method burglar--and he came off a bit silly just because this scene with Collins completely undid this characterization--when all his believability and consistency as a character went out the window. Too bad...otherwise, it was a pretty decent film.

Professor Edward G. Robinson assembles six cohorts for a heist on a Monte Carlo casino--but when penniless strong-arm Rod Steiger takes command of the robbery, the disparate personalities of the team come to the fore. Sydney Boehm, adapting Max Catto's novel, can't seem to decide whether to slant this derivative tale towards criminal melodrama or play it up as a lightweight diversion; bits and pieces of both emerge. The indifferent tone set by the writing may be one reason why director Henry Hathaway has staged it in a poker-faced, workmanlike manner. Talky, humorless, and oddly indifferent. Robinson coasts through on his built-in good will, Joan Collins provides the eye-candy as a cheesecake dancer (with two gratuitous numbers). *1/2 from ****

A so-so caper movie that somehow fails to take off despite a veteran cast and director. There's lots of casino glitz, a sexy Joan Collins, and an inherently suspenseful premise, but the elements never really come together. I agree with the reviewer who thinks Steiger miscast. His is the central role. Yet he's so humorless, his enforcer-leader fails to generate needed sympathy for the caper (I gather director Hathaway was also unhappy with the grimness). In fact, with Robinson's exception, none of the characters is particularly likable. As a result, viewers are not encouraged to engage with the caper, but instead to simply observe it. At the same time, ace director Hathaway films in uncharacteristically impersonal, uncompelling fashion.Nonetheless, the movie does have its moments. There's genuine tension when the Duc (Hillaire) tries to get Melanie (Collins) evicted from the casino, spoiling the heist. Instead, Melanie does some fast thinking and hangs in there. Then there's the very human last- minute-jitters that threaten to undo the elaborate scheme. But these moments of tension tend to remain isolated instead of tightening into a suspenseful whole, a failing perhaps of the screenplay.I think there's a reason these heist films were popular during the law-and-order 1950's. The best ones-- The Asphalt Jungle (1950), The Killing (1956)— humanize crime in ways crime features to that point don't. Unlike most crime dramas of the period, ordinary people are seen as able to pool their talents into a cleverly profitable undertaking, at the same time, being daring enough to take big risks for big gains. Such qualities mirror the kind of commercial initiative ordinarily lauded by popular culture. Of course, heists are also criminal enterprises, but except for the key factor of legality, they show off the combined skills of ordinary people acting in effective and sympathetic light. And just as importantly, as long as it's only a bank or racetrack or casino that gets victimized, well, they can likely afford it. Without that key consideration of who's harmed, the ending of this film would be more morally questionable than it is.Anyhow, the movie's passable entertainment, and if it fails to scale the caper film heights, at least there are compensations.

Considering the talent involved, this was an incredibly boring film. I'm not a guy who needs CGI, explosions, and car chases for a film to be exciting...how about some crisp, witty, intelligent dialog? I love a good character study as much as the next film fan, but these characters were too shallow, vague, and "mysterious" to be anything beyond one-dimensional. The attempt at mysterious pasts fell flat because they never went anywhere and had no bearing on the caper or its aftermath. Every chance the gang members had at challenging Rod Steiger's authority fizzled into quiet subservience immediately. The "tension" during the heist was forced and unrealistic, with obstacles overcome much too neatly. This seemed more like a TV episode of "It Takes A Thief" or, as another reviewer suggested, "Mission: Impossible". Even the worst episode of either of those series was more enjoyable than this film.Other reviewers found the plot "complicated". Can't figure that one out, as it is the most straightforward plot imaginable, with a clear avoidance of any meaningful twists and turns. And the "twist" ending fell completely flat because it had no bearing on anything that came before it. All it generates is a shrug of the shoulders and a yawn before the abrupt and pat ending. Lost opportunities to push the envelope, generate legitimate tension, create plot twists, and stir up human drama.The acting held only one surprise: Rod Steiger. This is the only film I've seen him in other than "On The Waterfront" where he is not chewing up the scenery with wild, over-the-top acting. He actually quiets things down and gives a mostly tight and controlled performance...choosing his outbursts selectively, rather than making his entire performance one long outburst as he usually does. Joan Collins was very pretty, but she is given nothing to do and every opportunity to use her character to stir up trouble in the group, or create a surprise twist with the heist is avoided at every possible chance. And they throw in a couple of dance numbers to "spice" up the movie, but the choreography is dreadful and she's not in rhythm to the music, so it is not erotic or sexy in the least...one just wants her to stop. I was willing to sit through one dance number as a way of introducing her character (eventhough we're already quasi-introduced to her in a meaningless café scene), but when they toss in the second dance number, there is no point other than time filler. Her acting was good...it's a shame the script didn't give her something substantial to do. The rest of the cast does a serviceable job, but again, there is nothing much for anyone to do. Top honors must go to Mr. Robinson, of course. There is no question that he radiates genuine star quality, and he is an absolute joy to watch. When he's not on, the movie becomes an endurance test until he is back on the screen again.OVERALL: Missed opportunities left and right, boring script, complete lack of tension, a director & script that undermine the drama at every turn, but gets a hearty three out of ten stars strictly for Mr. Robinson's performance.