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Title: The Thomas Crown Affair (1999)
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| Cast overview, first billed only: | |||
| Pierce Brosnan | ... | Thomas Crown | |
| Rene Russo | ... | Catherine Banning | |
| Denis Leary | ... | Michael McCann | |
| Ben Gazzara | ... | Andrew Wallace | |
| Frankie Faison | ... | Detective Paretti | |
| Fritz Weaver | ... | John Reynolds | |
| Charles Keating | ... | Friedrich Golchan | |
| Mark Margolis | ... | Heinrich Knutzhorn | |
| Faye Dunaway | ... | The Psychiatrist | |
| Michael Lombard | ... | Bobby McKinley | |
 |
Bill Ambrozy | ... | Proctor |
|
|
Michael Bahr | ... | Proctor (as Michael S. Bahr) |
| Robert D. Novak | ... | Proctor (as Robert Novak) | |
|
|
Joe H. Lamb | ... | Proctor (as Joe Lamb) |
| James Saito | ... | Paul Cheng | |
Self-made billionaire Thomas Crown is bored of being able to buy everything he desires. Being irresistible to women, he also does not feel any challenge in that area. But there are a few things even he can't get, therefore Thomas Crown has a seldom hobby: He steals priceless masterpieces of Art. After the theft of a famous painting from Claude Monet, the only person suspecting Thomas Crown is Catherine Banning. Her job is to get the picture back, no matter how she accomplishes her mission. Unfortunately, Catherine gets involved too deeply with Thomas to keep a professional distance to the case. Fortunately, Thomas seems to fall for her, too. Written by Julian Reischl <julianreischl@mac.com>
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Obligatory comparison to the first film: The first Thomas Crown Affair really wasn't that great with its split screens that would make even Brian De Palma sick. Like other films from that era of history, it's lost some of its shock with time but unlike true classics, Thomas Crown Affair has lost a lot of its charm. Worth a viewing, but not worth worshipping.
Only vague concepts carry over from film to film, really. The same basic plot curve, same basic events, same basic characters, except everything is retold and reinterpreted from a different point of view. And I much prefer John McTiernan's interpretation despite the more glaring plot holes such as 'Why didn't the security tape reveal who set the briefcase in the gallery to begin with?' Theoretically the culprit could've been caught then and there, but then there'd be no movie.
The caper's execution is rather spectacular, far more entertaining than the original's, though much less likely to happen. But who cares, really? McTiernan directed this as a film you can't take 100% seriously anyway. This is a fun cat and mouse movie, not a documentary.
The premise-an art theft-strikes me as more interesting than the original's robbery; besides, how many films have bank robberies? How many films steal art? It's something different.
The characters and their portrayals are colorful and interesting, walking a thin line of camp but never pushing it too far. This movie isn't about 'Everyman' nor is it meant to. It's about a billionaire who gets his kicks out of high stake gambles and wages-how do you do that without a larger than life portrayal?
I particularly liked the ending sequence, as goofy, perhaps corny as it is, it's still fun. Especially the music selection, Nina Simone's Sinnerman, a well chosen track. Bill Conti provides the underlying score, which proves quite unique having a slightly bouncy 'piano recital' quality to its first few themes. Very fitting for the museum setting. It's a CD worth purchasing for the sake of variety alone.
In the end, Thomas Crown Affair works not because of the film's subjects or its characters . . . it works because of -how- it portrays everything. Its tone is fun and relaxing, and it never tries to take itself too seriously. After all, we are at the movies and not a training seminar . ..