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 <firstname.lastname@example.org>
The glider is a Schempp-Hirth Duo Discus, a German high performance two seater. However, it is physically impossible to reach from the rear seat to the front in flight. So this was arranged in the studio. The glider was flown by Thomas Knauff, a famous glider pilot from the U.S. In the original 1968 film, there are similar scenes in another glider, a Schweizer 1-23, an American high performance glider from that time. See more »
The team of agents that inspect Crown's house emerge from a truck that displays the false company name "Aladdin Cleaning Services". However, the company name is misspelled on the agents' jackets, reading "Alladin". See more »
This motion picture was in no way authorized, sponsored or endorsed by any museum, nor was any portion of the motion picture filmed inside a museum. The events, characters and other entities (including the museum) depicted in this motion picture are fictitious, and any similarity to actual persons, events or other entities is purely coincidental. See more »
Written by Kurt Weill and Bertolt Brecht
from the Threepenny Opera - Original Broadway Cast
Music Conducted by Samuel Matlovsky (as Samuel Matlowsky)
Courtesy of Polydor Records
Under license from Universal Music Special Markets See more »
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 . ..
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