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Good story, Not enough for a whole film

The acting in this movie is really good.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Since the museum's floor is completely pressure-alarmed how come it did not trigger when the glass case was lifted!!! Brilliant movie otherwise, ending needs time to digest. Great - Locations Music Editing Photography & Peter Ustinov 10/10.Quite a feat for the sixties and the bold attempt with robbery as the focus fantastic.Scenes from this movie copied all over but not with the same result.The cook also performed well,albeit a bit over acted in some parts.All characters well chosen and screenplay and dialogues top class.The editor is the real winner here because of the tension that s generated in the final scenes.Definite watch for all who like a solid performance with lot of location and humour.

First off, Jules Dassin is still, even with all of the attention he gets for being one of the Hollywood Ten, one of the most underrated autuers to ever originate from Hollywood. This seemingly lighthearted work may have been received as minor, but in fact in encapsulates the themes apparent in Dassin's oeuvre and moves his political critique in a bold new direction.Dassin's ability to construct suspense is, I think, worthy of comparison to that of Hitchcock. His appreciation for architecture as an extension of natural landscapes reminds me of that of Antonioni. He again lives up to those comparisons with this film. This movie brings many of the qualities of Dassin's best, older films together: the on-location semi-documentarian urban intensity of "Naked City", the concern for Classical values being turned against themselves as manifested by Greco-Roman wrestling from "Night and the City", and the appreciation of crime as a collaborative and conspiratorial art form previously depicted by Dassin in "Rififi". It seems to me no wonder Dassin would admire conspirators. Did not the Blacklist force him and his fellow commie artists to conspire against the oppression they faced in '50s Hollywood? What is unique about this movie in relation to Dassin's other work is his comfort here with female desire. The lead character, a lady thief, becomes visibly desirous of the athletic, male wrestlers, as well as of wealth. With this piece of work, Dassin's political message, if a bit more allegorical than it was pre-Blacklist, is both more despairing and more hopeful than before. One of the first faces seen in the film is that of Stalin, but not the actual man, rather a puppet at a circus, equated with the marionette leaders of the capitalist world,Roosevelt and Churchill, sitting with Joe. The film ends with an idea of liberation suggested as such. What if, in addition to the sabotage of capitalist wealth and desire, someone tried to rob the Czarist jewels locked deep inside the Soviet Kremlin? Can such a purification of the socialist imagination be responsibly made? Dassin seems to think such a suggestion should be made, whether or not it should be realized. .

Okay, it had some nice travel-porn and Peter Ustinov absolutely transcends the material here (he was the best thing in this)...but this flick is screaming out for a glamorous remake. Nothing too slick and I don't want everyone in the remake to be gorgeous but seriously...it needs a remake. Also, my husband came up with a much better ending than the one here.So...nice scenery, including a ridiculously good-looking Max Schell, but Ms. Mercouri nearly ruined this movie. She was just too weird. Was she supposed to be alluring? I just found her to be scary looking and I couldn't believe these guys would be falling all over her. I don't mean to be catty...I'm actually older than she was when she made this film but I'm still calling her out on being a little too witch- like. That voice! Like a much-later Lucille Ball after a couple of packs of cigarettes. Puh-leeze.

I hope they paid Ustinov by the bucket load. Because he sweats more than any human should be allowed. It's tongue-in-cheek the whole way as a motley gang of thieves steals some big Turkish jewels. No doubt about it, the cast is having fun, especially Mercouri who mugs it up as the gang's, uh, girlfriend. But why shouldn't they be enjoying it. Here they are in scenic Greece and Turkey, no doubt on an expense account, and with all these assorted European types to entertain one another. Looks to me like director Dassin is redoing his classic Rififi (1955), but this time for chuckles. Still, the heist's a real nail-biter, getting across the rooftops of downtown Istanbul or hanging spider-like from a domed ceiling. As I recall, the movie caper was a smash hit back in '64, and still holds up pretty darn well. Just don't let any of that sweat get on you.