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How to Steal a Million (1966)

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Romantic comedy about a woman who must steal a statue from a Paris museum to help conceal her father's art forgeries, and the man who helps her.

Director:

William Wyler

Writers:

George Bradshaw (based on a story by), Harry Kurnitz (screenplay)
Reviews
1 nomination. See more awards »

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Cast

Complete credited cast:
Audrey Hepburn ... Nicole Bonnet
Peter O'Toole ... Simon Dermott
Eli Wallach ... Davis Leland
Hugh Griffith ... Charles Bonnet
Charles Boyer ... DeSolnay
Fernand Gravey ... Grammont
Marcel Dalio ... Senor Paravideo
Jacques Marin ... Chief Guard
Moustache ... Guard
Roger Tréville Roger Tréville ... Auctioneer (as Roger Treville)
Edward Malin Edward Malin ... Insurance Clerk (as Eddie Malin)
Bert Bertram Bert Bertram ... Marcel
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Storyline

In Paris, wealthy Charles Bonnet is well known in the art world as a collector of rare pieces, mostly of the impressionist masters. He will on occasion sell paintings from his collection at auction. In reality, he is an art forger, he only reproducing those pieces known to have gone missing. His daughter, Nicole Bonnet, wants him to stop this business fearing that some day soon he will get caught. She is most concerned about he loaning out his Cellini Venus statue to the Kléber-Lafayette Museum, as she knows that technology can now test for things such as material age which would prove that the statue and by association he is a fraud. He ends up causing a problem for himself when he signs a $1 million insurance policy for the statue for the museum, which unwittingly allows them to test the piece for its authenticity. To save her father from jail, Nicole feels the only thing she can do is try to steal the statue from the gallery which may not be the easiest thing to do especially as ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

S-S-S-H-H-H-H-H - Meet a couple of smart operators who give a lesson in love and larceny See more »

Genres:

Comedy | Crime | Romance

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | French

Release Date:

19 August 1966 (UK) See more »

Also Known As:

How to Steal a Million Dollars and Live Happily Ever After See more »

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Box Office

Budget:

$6,000,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

World Wide Productions See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Color by Deluxe)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Davis Leland's private jet is a Dassault-Breguet Mystère 20 (later designated "Falcon 20"), registration F-WLKB, and happens to have been the first of over 500 built. See more »

Goofs

The guards would have immediately searched the cleaning women and their buckets, finding the Cellini Venus. See more »

Quotes

Simon Dermott: Why don't you wait till you get it home and steal it then? No muss, no fuss, just a nice clean inside job? I'd be happy to offer my services.
See more »

Connections

Referenced in Uncle Daddy: How to Steal an Idea (2013) See more »

Soundtracks

Two Lovers
(1966) (uncredited)
Written by John Williams and Leslie Bricusse
See more »

Frequently Asked Questions

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User Reviews

 
A Filmic Bon Bon; a Trend-Setting, Light-Hearted Romp
4 August 2005 | by silverscreen888See all my reviews

The trio of William Wyler directing, Audrey Hepburn as a charming French woman in need of help and Peter O'Toole as the dashing fellow who agrees to commit a crime for her seemed at first glance to many film aficionados to be potentially a fine partnership for making a winning comedy. "How to Steal a Million" in fact turned out to be atmospheric, very French, very sophisticated and a great deal of fun. The clever story and screenplay by George Bradshaw and Harry Kurnitz worked almost everywhere, I suggest. Some of the film's humor seems obvious to me--the use of rotund Gallic comedian Moustache borders upon parody at times; but this is a fundamentally light-hearted romp of a film from its flimsy but serviceable premise to its satisfying romantic conclusion. It is a comedy; and it turns upon O'Toole's ability to devise a means of stealing a well-guarded art object from a major French Museum, a physical feat which he proves to be quite capable of achieving. The reason he is asked by Hepburn to plan that robbery is that the lovely statue now on display is about to be examined and authenticated by experts--and her father created the work, as he has created so many others, his charming and adroit forgeries. There are several other currents at work in the plot as well; there is a U.S. buyer after the piece, Hepburn 's belief that her champion is a crook turns out to be an unfounded assumption, and he is falling in love with her as she is with him throughout the unfolding of actions and events. The production is expensive-looking but never "heavy" in feel to my way of thinking. Givenchy did Miss Hepburn's gowns, Charles Lang was the cinematographer, and the production design by Alexander Trauner and the bubbly music by John Williams both served the story very strongly. In the cast, O'Toole and Hepburn seem perfectly mismatched; she is a bit inconsistent, I believe not knowing how "old" to play her part; O'Toole is intelligent, and plays both a crook with a sense of humor and a romantic admirer of Miss Hepburn's very successfully. Her father who proudly but inadvertently loans the piece to the Museum and misses the clause relative to its being examined by experts is Hugh Griffith, who suggests as much as he blusters. His likability is the key to the plot, because if he were not talented and likable and worth saving, the viewers would not accept the story-line'e basic premise--much ado to save him. Eli Wallach is bright as usual as the obsessed would-be buyer; others in the cast include Charles Boyer, Fernand Gravey, Marcel Dallio, Jacques Mann, the aforementioned Moustache and Roger Treville. The film is often discussed as if it were a trifle, a cinematic glass of champagne and a delightful and only a bit-overlong comedy. the attitudes expressed miss the three points of the film...It is noir, since the police cannot be brought into the case; it is comedy, which means its tone of light-heartedness and clever dialogue is very often exactly right; and its sub-plot is adventure, a very daring and ingenious combination of psychology, physical paraphernalia and enjoyable suspense. It is well-liked by many, and as a writer, I am certainly one of its admirers..

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