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Sam and Felix are art thieves. Sam has just stolen a picture from a museum in Italy, but told Felix that it was lost in a boat accident. He wants copies made to sell while he will sell the original and get paid both ways. To find an artist, they pick the young, beautiful, naive Anna. When Anna has doubts, Sam strings her along and then marries her and go to Sicily on their honeymoon. Anna finds out that Sam is a thief and is very disappointed. Felix finds out that Sam has the original and is out to get it. The police are also waiting along with the buyer that Sam has for the painting. Written by
Tony Fontana <firstname.lastname@example.org>
In his second directed film, Richard Brooks filmed his own screenplay and you kind of get the feeling he would like to have had Cary Grant as his lead as he did in his first film, Crisis. I'm betting this film had to have been offered to Grant.
Failing to get Grant, MGM had its leads under contract in Stewart Granger and Pier Angeli. They did a reasonably good job in a caper film where the thief turns out to have a conscience.
Granger contracts to steal a valuable religious painting from a church in Palermo and makes good his escape to Tunis. Where instead of delivering it to fence George Sanders, he uses the old Granger charm to make copies and see if he can collect a few times on this robbery. Since nobody knows quite what Granger's game is, they have to wait and see including the police inspector Joseph Calleia.
The charm is used on young artist Pier Angeli and he even marries the girl. But she in the end has more effect on him than he on her.
MGM brought Richard Brooks and the whole cast over to Sicily and to Tunis with interiors filmed in their Cinecitta studios in Rome. So after going through that expense, why didn't they opt for color, given some of the beautiful locations they were filming at?
For Calleia and Angeli, this was a return home. For the rest of the cast it was a nice Mediterranean working vacation even though Brooks and Granger did not get along. I really do think Brooks must have seen this film for Cary Grant.
It's not a bad film, it does drag in spots and color would have been of immense help. Still Granger is every bit as charming as Cary Grant.
No matter what Richard Brooks thought.
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