IMDb-BEWERTUNG
6,9/10
10.731
IHRE BEWERTUNG
Ein Betrüger wird mit einer Gruppe von Dieben verwechselt, die planen, ein Istanbuler Museum auszurauben, um einen Juwelendolch zu stehlen.Ein Betrüger wird mit einer Gruppe von Dieben verwechselt, die planen, ein Istanbuler Museum auszurauben, um einen Juwelendolch zu stehlen.Ein Betrüger wird mit einer Gruppe von Dieben verwechselt, die planen, ein Istanbuler Museum auszurauben, um einen Juwelendolch zu stehlen.
- 1 Oscar gewonnen
- 4 Gewinne & 4 Nominierungen insgesamt
Titos Vandis
- Harback
- (as Titos Wandis)
Joe Dassin
- Josef
- (as Joseph Dassin)
Faik Coskun
- Tavla Player at Hilton
- (Nicht genannt)
Jules Dassin
- Turkish Cop
- (Nicht genannt)
Selahattin Içsel
- Tavla Player at Hilton
- (Nicht genannt)
Bedri Çavusoglu
- Police Officer
- (Nicht genannt)
Handlung
WUSSTEST DU SCHON:
- WissenswertesCited by Kobra, übernehmen Sie (1966) series creator Bruce Geller as the inspiration for his own series.
- PatzerWhile in the lighthouse during the caper, Cedric wipes his face with an oily rag, but all the following scenes show no oil on his face.
- Zitate
Elizabeth Lipp: Do you mind that I am a nymphomaniac?
Walter Harper: It's your most endearing quality.
Elizabeth Lipp: Don't waste it - use it.
- Crazy CreditsAt the beginning, the title and the technical credits are shown, but no credit is given to the actors or to the producer-director. However, at the end, the words "There they go again!" are seen, and all of the leading actors appear in a snowbound setting, together with their names. Then the names of all of the other actors, together with the name of the producer-director, appear on the screen.
- VerbindungenFeatured in The 75th Annual Academy Awards (2003)
- SoundtracksThe Stars and Stripes Forever
(uncredited) (1896)
Written by John Philip Sousa
Played when Elizabeth steps on Cedric's mock-up of the security platform
Ausgewählte Rezension
Multicultural caper movie seems a hollow period piece
Jules Dassin's Topkapi was one of the lavish heist movies, set in touristy locales, that were all the vogue four decades ago. And Dassin executes the heist itself -- of an emerald-encrusted dagger from the famed museum in Istanbul -- with grace, precision and suspense. But it's a very long time coming.
Dassin seems reluctant even to start the movie, dilly-dallying with a proto-psychedelic opening sequence involving games of chance and glittering gems. Then Melina Mercouri, shot in an iridescent haze, bulldozes her way out to address the audience but fails owing to her thick-as-moussaka accent. Finally we get to the rounding up of the gang of amateurs who will pull off the caper: mastermind Maximilian Schell, Robert Morley, Peter Ustinov, Gilles Segal (as a deaf-mute gymnast), and Mercouri.
The plotting and rehearsing of the crime take up most of the movie, leaving us to be entertained by the characters, none of which is really written. So instead we get each actor's idiosyncratic bag of tricks. And while Morley and Ustinov reliably amuse us, Schell flaunts his Continental-cool duds with a smug smirk frozen on his face. Mercouri, meanwhile, vamps it up like a demented drag queen doing Joan Crawford. What little friction exists among the cast members gets played for laughs -- no subversive subplots, no separate agendas are afoot.
Dassin made his reputation directing tough, unsentimental films in the noir cycle: Brute Force, Thieves' Highway, Night and the City. When forced back to Europe by the Hollywood blacklist, he did a superior caper film, Rififi; Topkapi seems a belated attempt to recapture it. But the chilled-down, ironic style that came into fashion in the early 1960s doesn't suit his earnest talents. Topkapi remains professional and pleasant but is now looking more and more like a period piece.
Dassin seems reluctant even to start the movie, dilly-dallying with a proto-psychedelic opening sequence involving games of chance and glittering gems. Then Melina Mercouri, shot in an iridescent haze, bulldozes her way out to address the audience but fails owing to her thick-as-moussaka accent. Finally we get to the rounding up of the gang of amateurs who will pull off the caper: mastermind Maximilian Schell, Robert Morley, Peter Ustinov, Gilles Segal (as a deaf-mute gymnast), and Mercouri.
The plotting and rehearsing of the crime take up most of the movie, leaving us to be entertained by the characters, none of which is really written. So instead we get each actor's idiosyncratic bag of tricks. And while Morley and Ustinov reliably amuse us, Schell flaunts his Continental-cool duds with a smug smirk frozen on his face. Mercouri, meanwhile, vamps it up like a demented drag queen doing Joan Crawford. What little friction exists among the cast members gets played for laughs -- no subversive subplots, no separate agendas are afoot.
Dassin made his reputation directing tough, unsentimental films in the noir cycle: Brute Force, Thieves' Highway, Night and the City. When forced back to Europe by the Hollywood blacklist, he did a superior caper film, Rififi; Topkapi seems a belated attempt to recapture it. But the chilled-down, ironic style that came into fashion in the early 1960s doesn't suit his earnest talents. Topkapi remains professional and pleasant but is now looking more and more like a period piece.
hilfreich•239
- bmacv
- 22. März 2002
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizieller Standort
- Sprachen
- Auch bekannt als
- The Light of Day
- Drehorte
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Bruttoertrag in den USA und Kanada
- 7.000.000 $
- Laufzeit2 Stunden
- Farbe
- Seitenverhältnis
- 1.66 : 1
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