The Italian Job (1969) User Reviews

A patriotic pleasure

[Leofwine_draca · 7/10 · 7 August 2016]

A classic British comedy of errors which has, if anything, become even cooler over the years than when it was first released, what with its swinging sixties setting and definitive performance from Michael Caine, which is both deadpan and at the same time hilarious. Indeed, this is the film that gave us one of his classic quotes ("You're only supposed to blow the bloody doors off!") and for the most part its Caine's film - without him, I don't believe it would work half as well. Made back in a time when the perfect popcorn film was lively, entertaining, well-acted, and immaculately made (like the early Bond films with Sean Connery) instead of the modern vacuous special effects outings we see in cinemas, this is a breath of fresh air and a film impossible to dislike.

The comedy comes from the misfortune our unusual leading characters find themselves in, as they attempt to carry out an elaborate robbery and find something going wrong at every turn. Despite this, they still manage to triumph through perseverance and plain luck, which makes their characters admirable despite being thieves. Our classic anti-heroes are made to look good through the intervention of the real bad guys of the film, i.e. the Italian Mafia, who think nothing of murder and destruction to keep the gold in their country. The film perfectly blends thrills with comedy and I was surprised how well it was shot and photographed all the way through; director Peter Collinson deserves recommendation.

The finale, which involves literally hundreds of motor vehicles involved in city-wide traffic jams and some classic chases involving three minis (red, white and blue, naturally) and the Italian police, is riveting stuff. The film also boasts the talents of noted British comedians Benny Hill, Irene Handl, and John Le Mesurier, all of whom have rather small roles, as well as Noel Coward in a scene-stealing part late in his career as Mr. Bridger, the big-time gangster who could wipe the floor with any of the would-be hard men of LOCK, STOCK, AND TWO SMOKING BARRELS. The actual robbery itself is tense, suspenseful and imaginatively staged. The Italian Job is a patriotic pleasure from a more innocent age long since gone.

"It is a work of genius."

[The_Movie_Cat · 8/10 · 18 January 2001]

In a sense I was disappointed to find that I actually liked The Italian Job. For after decades of imitations and student new-lad pub bores crowbarring "You're only supposed to blow the bloody doors off!" into conversation, I was all prepared to hate it.

Yet The Italian Job is a good film. A very good film in fact. First-class direction, all pans and upshot angles, and slyly political, though its "Cool Britannia" ethos almost seems to parody devotees of the Union Jack. Anyone watching this film for reconfirmation of the Empire is mistaken, though the team's final downfall notably comes from the only non-Caucasian member.

The humour is self-conscious, but never so that it goes too far; it's always witty. Michael Caine is the archetype Michael Caine, all pointing finger and raised-voice declarations, the version mimics love to portray. Noël Coward is able support in a straightish role, though the wonderful Benny Hill parodies his own image, thus diluting his already fine (And misunderstood) ironic take on the sexual pervert.

Screen realism is not an issue here, with a Mafia cameo who are hardly Don Corleone. Women are also marginalised, with only Maggie Blye getting a largish role as Caine's girlfriend, Lorna. This is the same girlfriend who hires six women to help celebrate his release from prison, and refers to fellow womankind as "birds". Yet while the film is a "boys only" club, it's far from a testosterone-led car chase, as Coward's appearance should attest. And what makes the final climatic chase so rewarding is that it's carefully, and intelligently, set up. The film is metaphorical where you wouldn't expect it to be, and well-acted all round.

All of which leaves me struggling for a way to end this review. Hang on a minute, lads, I've got an idea -

A cultural masterpiece

[The_Void · 8/10 · 26 October 2004]

The Italian Job is one of the best-loved British classics ever made. Most people in my home country of Britain have seen the film many times (most of those times spent drinking tea and speaking like the queen, of course), but there's more than enough for audiences from other countries to like about this delightful thriller as well. As you almost certainly already know, The Italian Job stars Michael Caine as the criminal at the centre of the job, dubbed 'The Italian Job' (would you believe). Caine is iconic in this film; his voice and mannerisms are often imitated, and it is this film that is probably most responsible for that. The plot follows Charlie Croker (Caine), a freshly released crook that, with a tip off from a deceased friend, decides to steal £4 million from Italy. However, it's not an easy job and there are many risks involved, so the job must be astutely planned and flawlessly executed for it to work right - and it is there that the film really takes off.

The Italian Job is well remembered for two things, the first of which is the Mini's. This is the film that made Mini's cool, so as you might expect, there is a fair amount of stunt work involving the Mini, a lot of which is truly spectacular - these little cars can be seen driving up stairs, onto and across roofs, through shopping centres, flying over various chasms etc and it's all very exciting. The second thing that it is remembered for is, of course, the line - "you were only supposed to blow the bloody doors off!", which is one of the most quoted of all time. The film's impact on popular culture has been immense, and that line's impact in particular is legendary; people that don't know the film know that line, and I dare say that a lot of them quote it even. It's up there with 'I'll be back' or 'that' line from Dirty Harry. The film also highlights a lot of British culture, most notably the reaction to something going right. English patriotism is a little different to the American version - while in America, the whole country may be united under the stars and stripes, very apple pie-like; England is much more content to chant a little inside of a prison. I know which version I prefer.

I could waffle on all day about this film, but we've both got better things to do, I'm sure so I'll finish by commenting on the ending; which is, simply, sublime and a perfect way to end the film; funny, well executed and absolutely genius. Well played.

Just the job!

[FilmFlaneur · 1 May 2002]

Troy Kennedy Martin, its scriptwriter, has described the central significance of the mini cooper in Peter Collinson's cult heist movie. Perkily speeding through the streets of Turin, it represents the then New Britain: `laddish, self-confident and not taking itself too seriously'. The image of the weaving, dodging, red white and blue cars is the film's abiding one. Outside of their use in the prolonged escape scenes, and several splendid comic moments elsewhere, it remains entertaining, even if surprisingly slight.

Often seen as a quintessential sixties' movie, ‘The Italian Job' is more precisely a definition (or one definition) of Britishness as an optimistic nation at the height of a chic decade. In this atmosphere, pulling a job – or a bird – is practically a national duty. Robbery is considered by Croker and Bridger as a means to `help with the country's balance of payments'. The ultra-patriotic Mr Bridger (a splendidly aristocratic Noel Coward, his cell walls pasted with pictures of royalty) sees the job as much a matter of national pride, a means to demonstrate the efficiency of the British system of work, than a route to amass loot. Characteristically Bridger is more interested in studying balance of payment statistics than examining escape routes for his operatives who appropriately enough travel to their ‘work' on the Free Enterprise 1.

The reference to football is significant and parallels with the sport are deliberate. Most obviously, the robbery is planned for the time of an England-Italy match maximising confusion and even,(as Bridger suggests at one point), possible help from their compatriots. Croker's men at one point assume the identity of a van full of fans, while the impromptu beer celebration in the back of the coach, after ditching the minis, is the team's victory drink. It is clear that the Italians, whether the police or the Mafia, are as much their opponents as the national team playing in the stadium. Back in prison, upon news of the triumph by his ‘team', Bridger descends the stairs, like a penal Alf Ramsey, acknowledging the chants of ‘England!' by celebrating fans.

Caine's cockney player is very much the main character of the film (a role apparently – and amazingly – originally offered to Robert Redford). The actor, who had earlier played the soliliquising womaniser Alfie in the 1966 film of the same name, reprises some elements of that character's optimism and assumptiveness. In the present film he is less of cynical loner, studiously subservient to his criminal employer, though still on the look out for a good thing both professionally and sexually. Like his more famous compatriot, James Bond, he drives an Aston Martin although quickly reduced to a bicycle and then a mini. The Mafia's cliff-side warning dents some of his self assurance, presumably also shaken by the roughing up from Bridger's men (although interestingly the beating is never referred to again, and leaves no physical marks.) Away from his boss he remains very much his own man, although his loyalty is never in doubt: `From now on we work as a team. Which means you all listen to me.' Crocker is always in control, never sentimental, being content to pack his girlfriend off with the minimum of ceremony at the airport. Emotion will slowly filter through Caine's screen persona. His watching of Beckermann's footage early on, to explain the big idea, anticipates Jack Carter's less dispassionate viewing of celluloid in Hodges' gangster film two years later.

Before the long, final chase ensues, the gang's Aston and two Jags are ceremoniously wasted by the Mafia. While making a simple point about the threat and power of the Italian underworld, the removal of ‘competing' vehicles also reaffirms the status of the remaining minis. Ironically if the film has a weakness, it lies in the mini's prominence, which reduces tension during the last part of the film. The stunts remain eye-catching today (the notable roof top jump being filmed on the roof of the Fiat factory), but very often one is aware of watching a demonstration of the vehicle's versatility rather than any dramatic bid for freedom. In one scene filmed, later deleted from the release print, the minis and their Italian pursuers performed gracefully together on an ice rink choreographed to a waltz, slowing the action even further. That such a scene was considered, and filmed, gives an indication of how taken the makers had been with the car, and with the *means* rather than the *process* of urgent escape.

Another less satisfactory element of the plot is the disappearing Mafia. Initially presented as a formidable, organised force (as in their synchronised appearance on the hill side for instance), the Italian hoods are sidelined as events unfold, criminal impotents. Their absence from the finale seems odd. With or without the Cosa Nostra's malign shadow, the existing conclusion of the film has excited much comment. With its famous shot of the coach balanced out over the precipice, the gold sliding towards its back end, and Croker's closing `I've got a great idea..', it is a literal cliff hanger. The original script tailed off with the escape, and another twist in the tail was clearly needed. After some debate a studio executive added the existing close, which could easily have appeared lame, but in the event proves a satisfying conclusion. By leaving the coach – and the viewer – hanging, the film has it both ways: the crooks get away with it and yet they don't; a group of white British lads triumph in their cool minis, only to have their plans derailed by a careless black driver of their coach. If the film has been about the state of ‘Britishness' at the time then the uncertainty of its conclusion anticipates, perhaps, the doubts and strife of the ensuing decades.

Hang on lads, I've got a great idea for a film

[Sonatine97 · 6/10 · 24 August 2002]

A film remembered very much for its quirky ending and amazing car stunts in the middle of Turin, Italy, The Italian Job does a half-decent job to entertain us with light hearted comedy, thrills, spills and average story.

However, I rather think the film would've disappeared had it not been for the charismatic weightiness of the relatively new British actor, Michael Caine. Already well known in the UK from previous films such as Zulu & Alfie, and it particular for his portrayal of Harry Palmer in a succession of spy movies (Ipcress File and Funeral In Berlin) Caine was still largely an unknown on the internation circuit, particularly in Hollywood.

The Italian Job offered Caine the opportunity to shine across the world and move him into super stardom as the cheeky Cockney with a heart of gold and roguish character. Caine has a very interesting presence on screen, a kind of British version of Robert Redford. He looks very self assured, perhaps a touch arrogant but he has the capabilities of either lifting a poor film into a competent one or dragging a goood film down to an average one based purely on his own strengths & weaknesses.

The Italian Job, therefore, is very much an average film even if one includes the stunts & chases. But Caine's marvellous character lifts the movies to a more pleasing one because his character is so large & rounded that even though we know he is very much a dodgy criminal by nature he isn't really a nasty evil man and so we can relate to him and cheer him on all the way through the movie.

I didn't really like Noel Coward's role at all as the Mr Bridger, the highly respected prisoner/criminal overlord that even the prison Governor has to respect. To me it was an embarressment and only served to distract the viewer and slow the pace of the film right down. Coward is far too pompous & boorish and added nothing to the movie at all.

Some of the supporting characters, Benny Hill, Robert Powell, Irene Handl & John Le Measurier are quite familiar to the great majority of UK tv viewers but don't really do themselves much justice in this film, with the possible exception of Hill and his passion for "large" ladies, which would in future years develop into his own TV show "Benny Hill Show".

Although the story is ok it soon becomes bogged down with too many distractions & seems to take for ever to get moving. And of course because this is primarily a British made film with a lot of UK actors the largely Cockney accent from most of the cast does irritate, even to other UK ears.

But again Caine's presence makes us forget about these little faults and all of a sudden the film becomes interesting again. But really this film is far too dependent on those car chases and "that" ending to really make for an enjoyable experience.

What the 2003 version of this film will look like I have no idea, but I suspect it will fall flat on its face very much in the same way the Hollywood remake of another British classic, Get Carter, died a quiet death two years ago.

The Italian Job is ok for a boring Sunday afternoon viewing, but take away Caine and you don't have much to think about.

**/*****

I wonder how many folks went out and bought a Mini just because of this film....

[planktonrules · 9/10 · 27 January 2012]

In many ways, this film is in the tradition of such memorable European heist films as "Rififi", "Grand Slam" and "Big Deal on Madonna Street". However, although it's a heist film, HOW it does it is unique and probably make this the best film when it comes to car stunts. Although everything leading up to the car chase is very, very good--once the insane Minis let loose, the film becomes a classic.

The film begins with Charlie Crocker (Michael Caine) getting out of prison. He's been handed a gorgeous plan by a dead man to rob a gold shipment in Turin, Italy. Who killed the creator of this brilliant plan? Well, the Mafia apparently didn't like the idea of outsiders coming into their country and committing such crimes. So, when Charlie decides to take on the job, it becomes sort of a UK vs. Italy thing--and coincides with a big football match between the two countries. But, the plan is expensive and complicated, so he needs the help of a super-criminal, Mr. Bridger (Noel Coward) to finance the operation.

As I said above, the planning is just fine, but the film becomes an insane bit of eye candy when the plan is enacted--particularly when they load the loot into three Minis. You have to see it to believe it and it makes the wonderful car stunts from films like "Bullit", "Diva" and "Le Balance" look almost pedestrian! Great direction, INSANE stunts and nice acting by Caine all make this one of the best crime films you can possibly see.

I wonder how many chumps went out and bought a Mini and then realized they CAN'T do all the insane tricks they did with Minis in the film!!

By the way, if you do watch the film, I hope you don't have a heart attack when you see the cars destroyed in the movie. I didn't mind seeing Minis destroyed--but what about those classic European sports cars?! My heart skipped a beat!

Great until the end...contains spoilers.

[trugg-863-229204 · 7/10 · 6 July 2020]

Funny, fast paced action ...Caine and the cast make it a fun ride. Good cinematography and real mixture of classic and cinema verite...until the stupidest character in the history of film drives like an idiot. Ridiculous ending that was only there to be used as a literal cliffhanger. Too bad because this could be one of the better films of the late 60's...

A rollicking heist flick with the best car chase ever put on film

[sme_no_densetsu · 8/10 · 6 September 2008]

"The Italian Job" is a comedic heist film that is mostly renowned for the extended car chase getaway. In it, a thief recently released from prison (Michael Caine) organizes a scheme to steal a shipment of gold bars by creating a massive traffic jam and using a trio of Mini Coopers to escape with the loot.

The cast is pretty decent with the always dependable Caine perfectly cast as charismatic thief Charlie Croker, Noel Coward as the incarcerated backer of the titular job and Benny Hill in a small role as a computer expert obsessed with plump women. Besides that there's no-one worth remarking on and not much acting that isn't up to snuff.

The script is bold and inventive with much of the humour being understated and unpredictable. The heist itself is clever but the staging of the getaway is a real work of art. Again, there is an inventiveness that is quite refreshing. Nevertheless, I was starting to get a little tired of waiting for the heist to be set in motion. Finally, the ending caps the proceedings in memorable fashion.

The direction by Peter Collinson is solid and above average for an action-comedy. The music, handled by Quincy Jones, is memorable but also characteristic of the era, meaning that it is unlikely to appeal to all tastes.

If you're looking for a lighthearted crime caper this is just the ticket. I particularly recommend the film since it includes what is, in my opinion, the best car chase ever filmed.

A lesson in how to make an entertaining movie

[Andy-496 · 7/10 · 21 October 1998]

Question: How can we possibly empathise with a group of crims, ex-crims and general good-for-nothings? Answer: Make sure that everythings goes against them. And so it goes, we have a healthy stock of characters you really can't take at all seriously, a plot that really doesn't stand up to too much close scrutiny (but it'll stand up to enough- it got the job done, right?) but action and humour in all the right places, all for a thoroughly engaging flick that stands up to repeat viewing again and again, even if it is just the Mini's scene. Oh, and let us not forget the ending...

In Summary: Bingo

What a ride!

[historical_account · 8/10 · 3 January 2003]

This thing starts moving and doesn't let go of you until the end, at which point you wish you were still on the ride going. We were surprised that we'd never herd of this before, especially since so many scenes are in video games these days (and times past).

This isn't one of those movies you spend your time thinking about, just sit down, watch, and let the movie unfold before you. If you're looking for good entertainment, this is it. If you are looking for meaning and some sort of significance, look elsewhere.

Good fast fun! 8/10

Surreal yet compelling

[Ian Mc · 6/10 · 17 September 1999]

The Italian Job - people rant and rave about this film, and we always get told it's the one with the three mini coopers and that infamous line. It's all that, but so much more as well.

Noel Coward's performance was amazing, the camera loves him - and he loves it back, oozing camp control at every moment. Caine doing what he does best, shout, get annoyed and generally play the bad boy. The surprise for me was how visually interesting the film was - sweeping shots of the alps, racing movements through Turin...surperb.

The minis sequence is all its build up to be and more, I just grinned throughout. I loved the fact that no Italian policeman could drive, in fact the whole comedy anti-European theme was hilarious.

A great, entertaining film with a strong supporting cast (Benny Hill!) and a brave, memorable ending. Often copied, never matched. Spoil yourself, go enjoy.

A fun caper comedy and British satire

[SimonJack · 8/10 · 28 May 2015]

Having commented on the 2003 remake of this movie, I thought I should also review the original - after watching it again. I noted that the 2003 version is good as well, but it is all crime without the comedy, and it's almost all "high tech." The plot of this original does rely on technology - a switched computer tape that runs the city of Turin's traffic system. But, that's taken care of in a few minutes of the film. The rest is a plot of planning, maneuvering and action with interludes of miscues. This is among the earliest films to use a high-tech device in its plot. Before this time, the most commonly used plots with technical devices were security alarm systems in museums and cameras in banks.

Humor is interspersed in all this. It's a British movie filmed in Ireland, England, the city of Turin, Italy, and the Italian Alps. Michael Caine is Charlie Croker, a local bad boy who has just finished two years in the slammer. Noel Coward is Mr. Bridger, the imprisoned king of corruption in Great Britain. Croker has to get Bridger's organization to back the biggest heist of all time -- $4 million in gold. Raf Vallone is Altabani, the Italian mafia leader who's out to stop the British heist.

Besides being a very good comedy caper film, "The Italian Job" (1969) is one heck of a satire of the British penal system. Every scene back at the prison with Mr. Bridger is hilarious. This is the funniest and best mockery portrayal of a big time criminal living the life of royalty in a prison. The film has a large cast of men involved in the heist, but the vast bulk of dialog, scene time and humor is with the three main characters.

The cinematography is excellent and the filming and scripting of the car chase scenes is among the best of that type of action ever filmed. Mr. Bridger's loyalty to Great Britain and the royal family is the cause of some good laughs a few times. Croker saves the lives of his crew when Altabani and his Mafia men intercept them coming into Italy over the Alps. He tells Altabani that if the Mafia kills him and his men, Bridge's organization would come down on the thousands of Italian restaurants and other businesses in Great Britain.

The Mafia is protective of Italy's economy, while Bridger also is interested in bolstering England's lagging economy by causing the hit on Italy's economy through the heist. It's all quite funny. There are some instances of innuendo about Croker and his love life, and a few otherwise clean jokes in places that only the older children are likely to get. So, this is a film that the whole family should enjoy. I think one of the very best scenes is the ending. It's the perfect "unending" to leave an audience to wonder if the old adage is true - that "crime does not pay."

Here are some favorite lines from this film.

Tailor, "Very elegant, sir; though I do believe you've gained a little weight." Charlie Croker, "Yes, well, uh, I've been in America, you see. It's the, uh, bread in the hamburger." Tailor, "Is that so?" Charlie, "Yes." Tailor, "Well, I'm glad you're out - I mean back."

Charlie Croker, "And do us a favor, Adrian. Shorten the sleeves, will you, love? I'm not a gorilla."

Mr. Bridger, "Last night, Mr. Governor, my toilet was broken into." Governor, "Toilet?" Bridger, "Toilet." Governor, "Broken into?" Bridger, "Broken into." Governor, "Well, I'm terribly sorry." Bridger, "There are some places, you oughtta know, which are sacred to an Englishman."

Mr. Bridger, "Her majesty's prison is there not only to keep people from getting out, but to prevent people from getting in."

Altabani, "Don't be too sure about the English, cousin." Altabani's cousin, "They wouldn't dare." Altabani, "They are not so stupid as they look."

Enjoyable, but a bit overrated.

[gridoon · 6/10 · 11 December 2001]

"The Italian Job" is an enjoyable caper film with fast pacing (there are almost no dead spots), good car stunts, OK performances and a unique, hard-to-forget ending. But many of the scenes involving Noel Coward supposedly planning the whole "job" from inside the jail are laughable (they're just too far-fetched to be accepted as satire of any kind) and the chase goes on perhaps a bit too long. Still, the film is much better than "Dollars" or "How to Steal a Million". (**1/2)

Car Sequence Classics, but ...

[MRavenwood · 4/10 · 30 January 2008]

It is difficult to imagine a world where car chases are new and this film was certainly in uncharted territory when this film was shot.

But the car chase is really all there is to the film. The set up is slow and the "women as objects" and men as "the cheeky rogue" is just juvenile and tedious. So, the reason why the Austin Powers films are funny - women going crazy over him for no logical reason - is played as serious here. So the whole nymphomaniac fantasy concept just seems lame.

The pacing is pretty slow and there's no by-play or sub-plot to help hold interest. It's just one long "and here's how we did what we told you we would do". I am sure fans of the film will say my points are invalid, but I offer them not to negate the popularity of the film, but to warn those that haven't seen it to not expect some kind of "Mission: Impossible!" 60s adventure. It's 13 whining guys stealing gold. Brilliant car chase sequences.

The Original - There is no comparison.

[wharfmatt · 6 July 2004]

It is unfortunate that the 2003 film was released with the same name as the 1969 film because it clouds the (unsophisticated) mind with subjective judgment. For everyone who compares the two films - stop! The original was filmed in a different time period and the viewer must make a conscious effort to put him/herself in that state of mind to understand it. The film is pure entertainment, and it accomplishes that with humor and some clever stunts. As viewers, we need to be objective and aware of the differences that have arisen on so many levels as the years have passed.

For those who complain that the premise of the heist is not realistic, it was never supposed to be. Consider that if it had been intended as a realistic portrayal, the crooks would have killed those in their way and taken the loot without concern for collateral damage. The existing plot kept the mood decidedly "all in good fun."

Michael Caine made as good a performance as ever in this film. It is fun for fans of him to see the many different roles he has undertaken in his prolific career.

A Period British Caper with Holes the Size of Mini

[secondtake · 6/10 · 24 June 2009]

The Italian Job (1969)

Dry TV humor, stretched out to two hours

Michael Caine is adorable, of course, and the movie has a silly caper flair to it, a mix of Goldfinger (with all that baggage, but Sean Connery) and Lavender Hill Mob (which has its laughs, and Alec Guinness), To Catch a Thief (also not the best film, but Cary Grant) and Charade (which has its funny, campy moments and at least a good old romance, with both Cary and Audrey). What I mean to say is, The Italian Job isn't very original, and Michael Caine isn't enough to save it, though he has saved a few movies, for sure. This one drags so often, is sexist so often (even more than a Bond film), and depends on wry little moments for its style and laughs so fully, I wanted to fast forward to the end.

I know this isn't a horrible movie, but when it asks me to be patient I quail. Why should I be? So we can watch a bunch of cads pull off a dubious heist (dubious because it's so unlikely, and yet of course, nothing is supposed to really be likely here) and see their little English ironies at work? And those cute little cars slide around like Matchbox toys?

Whatever. If you like it you like it. Which is to say, there is a British sensibility here which rubs me wrong. Monty Python I get, the Prisoner I get, Peter Sellers I get (to pick some 1960s British icons). The Beatles I get. It guess there are people, bless their impoverished little souls, who hate American film noir, so there you have it.

The cliff-hanger at the end is a perfect summation. There they are, in this comic/ridiculous suspension literally on the edge of a Swiss cliff, and the gold is about to slide into the gorge, and do we really care? Nope. And if we don't care, why are we watching? For the fun of it, the laughs, the jolly good quips that appear, spaced out between sections of filler? Not for me. It's just not comic enough or dramatic enough or surprising enough. It's just not enough, period.

Definitely worth watching despite its flaws

[TheLittleSongbird · 8/10 · 14 June 2010]

I enjoyed The Italian Job in general, I don't revere it as a classic but it is entertaining with a great cast, fabulous locations and a brilliant soundtrack. The secondary characters could have been developed much more though, and the direction was a little too flashy. That said, a vast majority of the dialogue is above decent, there are occasions where it could have been better, but it is good enough. It is well paced though, and the cinematography, scenery, set pieces and costumes are fabulous, Turin looks glamorous and the interiors from Twickenham Studios are stunning. Quincy Jones's soundtrack is brilliant, and the cast is first rate, with Michael Caine suave and charismatic, Noel Coward marvellous and Benny Hill great value. Overall, not a classic by all means but very good. 8/10 Bethany Cox

Irresistible Cockney Geezers Comedy Heist Adventure

[ShootingShark · 7/10 · 18 June 2005]

Charlie Croker, recently released from chokey, is planning a four-million dollar gold bullion heist in Turin. The scam involves deliberately causing a massive traffic jam, knocking off the gold and then escaping with it in three Minis along a complicated back-alley route. But first Charlie must convince the powerful and dismissive Mr Bridger to fund his outlandish scheme.

The quintessential British caper flick, this is a great fun film which plasters a smile to your mug right from the start and keeps it there. It has four key ingredients going for it. Firstly, a fantastic script by Troy Kennedy Martin, with a great central idea for the heist, a gallery of lovable lowlifes and lots of funny dialogue ("We all work together as a team, and that means you do everything I say."). Secondly, a terrific performance by Caine, whose unbridled barrow-boy charm permeates almost every scene. Thirdly, an amazing score by Quincy Jones which runs the gamut from easy listening to jazz and traditional orchestra and concludes with a wild toe-tapping cockney singalong number called "Getta Bloomin' Move On !". And finally, incredible stuntwork by Remy Julienne for the zesty classic car-chase finale, with Union Jack Mini Coopers racing through piazzas, arcades and subways. The rest of the cast have a tremendous comic pedigree, and Coward is deft and mannered (in his final film) as the haughty, snobbish, macroeconomically-minded, royalty-adoring Mr Bridger. This is definitely a movie for classic car enthusiasts, featuring Lamborghinis, Aston Martins, Jags and lots of Fiats. Beautifully photographed on location in Turin and the Alps by Douglas Slocombe, handsomely produced by Michael Deeley and stylishly directed by the underrated Collinson, this is one of the most beloved and entertaining British movies ever made.

THE GENUINE ITALIAN JOB

[MadamWarden · 8/10 · 25 August 2020]

This is a cracking crime caper. An absolute cracker. Soooo much better than the recent remake.

The characters are fantastic, the British vs Italy nationalist fun. And old school political incorrectness abounds.

Caine is excellent and you feel he and the cast really had fun.

The car chases are fantastic. No CGI here!

A must watch. Treat yourself to this Mini Classic!!

Jolly entertaining!

[EijnarAmadeus · 6/10 · 25 March 2004]

THE ITALIAN JOB is a jolly entertaining movie. With Michael Caine in the leading role as Charlie Croker, a elegant, charming and professional thief that's just been released from prison and is on a big heat. The heat shall take place in Italy in the city of Torino, together with a bunch of other low-time bandits they settle up for a very good heat where it's all about gold coming in to Torino. Three Morris Mini's in red, white and blue is the getaway cars...

The movie is very English and very fun all the way, and it can sort of remind of James Bond moods although this is more of a comedy, but on the other hand the movie isn't very funny either. Terrifying filmmaking with the big Italian woman who gets p***ed with fast-motion making her voice sound much more irritating.. The movie offers a lot of entertainment and is easy entertainment! But, the end is something of stupidity. The happy crew of bandits driving in a huge buss suddenly gets to excited and happy over the successed heist that the bussdriver takes a bad turn and the buss is suddenly hanging off a cliff! The bandits standing in the buss, and on the other side the gold are laying, and so Caine starts moving carefully towards the gold, and starts crouching, why? It really doesn't make his weight any easier!

Well, anyhow, the movie has got a very fine and very well-known classical car-chase with these three Mini's driving, a very funny scene. The movie has got a lots of splendid entertainment, but as a film, it's a bit low. STARS: 3/5

" Everyone in the world is bent! "

[thinker1691 · 8/10 · 19 June 2007]

Charlie Croker (Michael Caine) is a lovable, fashionable convict who despite having served five years in prison, is immediately engaged to accepting an "Italian Job" in Italy and in the process, completing the intricate crime of a lifetime. A short but very interesting film about an Italian town called Turin, is sent to him by a good friend and marked man called Beckerman (Rossano Brazzi). The film instructs Croker to take the accumulated plans, get a financial backer and pull off what Beckerman describes as a $4,000,000 gold robbery, through a traffic jam. The minor problems are explained but easily overcome by Bekerman's meticulous plans. However, the main obstacles to the bank heist are no trivial matter. Croker will be up against the highly sophisticated armored convoy with its armed guards, the 'special security' system of the bank, and an entire city in Chaos. Additionally the shipment will be protected by the biggest obstacle of all The Mafia (Raf Vallone). They warn Charlie, if he attempts to steal the gold, he will be sent back to England in a pine box. To his credit, Charlie wins over the confidence of England's version of the Godfather, Mr. Bridger (Noel Coward who is superb.) To further aid Croker, he assembles an odd assortment of characters such as Professor Simon Peach. (Benny Hill who is wonderful) and Stanley Cain as Coco. The entire film is dedicated to the fact that even the most secure treasures can be stolen. However, hanging onto them, crossing the Alps and getting back home is subject to the Law of Gravity. A serious and comic film destined to become a classic, especially with it's haunting theme. ****

Pretty Good 60s Comic Heist Film

[hokeybutt · 6/10 · 5 February 2005]

THE Italian JOB (3 outta 5 stars) Okay, this is the original British version with Michael Caine, not the recent remake (which I have not yet seen at this time). I figured I owed it to the UK to see the original first since the Hollywood remakes of their best films (Get Carter, The Ladykillers) usually turn out so lame (though the US version of this one does look promising). Anyway, as far as "caper movies" go... this one is not necessarily one of the best. The actual heist is not much more than a glorified "smash and grab". The main point of interest is the getaway afterward... after creating a huge traffic jam which ties up the police, the thieves take off with their haul in a trio of modified Mini Coopers. Caine performance is adequate but he has played the same sort of role dozens of times and there is nothing much new here... he's the charming, rogue anti-hero who masterminds the big job. The movie has its moments, though and the final chase scene is fun to watch. The ending is quite odd... I thought it was extremely cool... but I'm sure it will tick some people off. ("What? That's it? What happens next?") But movies took these kinds of chances with endings in the 60s... I very much doubt that the remake ends the same way.

So very British

[bensonmum2 · 8/10 · 20 February 2005]

• Charlie Croker (Michael Caine) has been out of prison for less than five minutes when he begins planning his next heist. This one involves robbing an armored car filled with gold in the streets of Turin, Italy. But, it's not just the police that Croker and Crew must contend with. The Mafia doesn't want some outsider to come into their country and steal gold out from under their noses either. The job becomes similar to the football match the Crew uses as a cover - it's about national pride.

• It's amazing that I had never seen this movie before. I understand that in Britain, it's considered nothing short of a national treasure. After watching, I can certainly see why. Everything about The Italian Job just screams Britannia - the Minis, the song with lyrics that are indecipherable to most Americans, Michael Caine, sensibilities, etc. I don't think that the colors selected for the Minis was an accident. About half way through, I felt like stopping the movie to make tea.

• The actual theft of the gold is fairly unremarkable. But the chase afterwards is where a lot of the fun in this movies lays. The Minis are characters in their own right. The final third of the movie is the most amazing commercial for an automobile I've ever seen. We see the Minis go down stairs, jump through the air, race across the roofs of buildings, splash through water, swoosh through tunnels, and (if you watch the deleted scenes on the Region 1 DVD) waltz on ice. Sometimes these extended car chase scenes can go on too long for their own good. Not here. I was never bored of watching the Minis race around Turin.

• I loved the ending. It is left wide open for you, the viewer, to decide just what happens next. Too many newer movies seem to feel the need to explain everything in the most minute detail. It's nice to use your imagination for a change.

• Finally, the music is another highlight of the movie. It seems a little odd that a movie I have described being very British should have the very American Quincy Jones responsible for the score. I defy anyone to watch The Italian Job and not have Getta Bloomin' Move On! stuck in your head for days.

"Pity people aren't as lovely as flowers, isn't it?"

[classicsoncall · 7/10 · 5 January 2020]

As I'm watching the film, I can't help wondering if Michael Caine was ever offered the role of James Bond. The film had that kind of vibe to it, especially with references to The Queen and it's evident nod to British patriotism. Reflecting over the past fifty years or so of caper flicks, this one seemed almost too easy by comparison with modern day films in which plots get twisted into a pretzel. This was pretty much a straight ahead affair, with the hijacking of a major gold shipment taking place virtually without a hitch, the Italian Mafia notwithstanding. I'll go out on a limb and say that this might be the youngest looking Michael Caine I've seen yet, as most of his prior work was done in uncredited movie parts or television series of the prior decade. He brought an element of fun to the role of master thief Charlie Croker, and if it weren't for the financial backing of the enigmatic Mr. Bridger (Noël Coward) in far off England, he might have been able to pull this caper off using just his own resources. The presence of Benny Hill was a treat for this viewer, one of the very few film appearances made by the talented comedian. Considering all that occurred to pull off the gold heist, it seemed more due to the ineptitude of Italian authorities and the befuddled Mafia led by the determined Altabani (Raf Vallone) than to the gang lined up by Croker, but they did have their moments. The film ends on what actually might be considered a cliffhanger, but the pull away shot reveals there was nothing to worry about. Adjusted for inflation, Charlie and his pals got away with quite a haul.

Memorable for its car chase scenes, but otherwise quite poor

[grantss · 5/10 · 12 October 2015]

Memorable for its car chase scenes, but otherwise quite poor.

A recently-released criminal, Charlie Croker (played by Michael Caine), devises a plan to rob Fiat of a large amount of gold in the city of Turin. He gains the backing of a British crime kingpin, Mr Bridger (played by Noel Coward) and assembles his team. Once in Italy he discovers he now has to contend with the Mafia in order to carry out his plan...

Not sure why this is so highly regarded. Yes, the car chase scenes, involving blue, white and red Mini Coopers, are iconic, but that's it. The script is mostly quite silly. Hardly anything is plausible or makes sense and sub-plots are plain random. Far more style than substance, and the style isn't that classy.

Michael Caine puts in a solid performance in the lead role. Noel Coward's character provides much of the implausibility. Benny Hill has a supporting role as weird, creepy, fetish-loving, tech professor - an ideal role for him.

I enjoyed the 2003 remake far more - action was as good and the script was much more solid. One of the few times I've enjoyed a remake of a movie more than the original.