Film Review: The Italian Job (1969)

“If you can remember the 1960s, you weren’t there” is a phrase that illustrates how difficult is to describe or define that tumultuous but fascinating period of history. Some films, however, execute that task better than other simply by unconsciously bringing era’s zeitgeist on the screen. In case of Britain that achievement belongs to The Italian Job, 1969 action comedy directed by Peter Collinson, a film, that despite initial lack of proper box office success, gained something of cult status and became one of the most beloved films of period.

The film begins in Italian Alps when international criminal Roger Beckerman (played by Rossano Brazzi) gets killed by Italian Mafia. Before that Beckerman has made a plan for spectacular daring robbery which was to be carried out by his associate, British criminal Charlie Crocker (played by Michael Caine) who is just about to leave prison. Upon learning that the target is huge shipment of Chinese gold, used as payment to Italians for construction of car factory, Crocker is determined to carry out his friend’s plan. Initially sceptical, Mr. Bridger (played by Noël Coward), godfather of British organised crime, agrees to give financial and personnel support. Crocker gathers crew, works out details and rehearse the plan, but upon arrival in Italy he finds that mafiosi led by Altabani (played by Raf Vallone) aren’t happy with British criminals pulling such spectacular heist on their home turf. Crocker isn’t discouraged and puts his plan, that involves sabotage of Turin’s traffic control system and ingenious use of small cars on city’s streets, into motion.

Originally developed as television film for BBC, The Italian Job represent clear product of Swinging Sixties, at least from perspective of young generation that rebelled against the establishment and old rules and embraced freedom, making protagonists of heist films not only sympathetic, but at times heroic figures. Michael Caine seemed ideal for this kind of film, partly due to his working class background and familiarity with criminal elements of London’s East End, partly due to his devilish charm and charisma that made character of Crocker ideal as leader of men. Caine’s character is not only loveable rogue when it comes to committing crimes and making fun of members of British “polite society” with whom he interacts, but also when it comes to showing typical 1960s attitudes towards sexual freedom and monogamy. For director Peter Collinson, whose career was made short because of early death, The Italian Job represents best known of all his films and it could be best explained by having great resources of Paramount Pictures on his disposal. Those resources were put to good use, enhanced by good will of Gianni Agnelli, Italian industrialist who saw spectacular heist film set in Turin as the best way to promote its motor industry. Producers, however, refused his offer to use FIAT cars because they wanted to make The Italian Job as British as possible. Instead they opted to Mini Coopers, iconic British cars, which are used in prolonged spectacular getaway scene near the end. Collinson didn’t have CGI or modern special effects at his disposal. He had to recreate massive traffic jam in Turin by creating real traffic jam, and some of most breathtaking scenes were done by dangerous yet superb work of legendary car stunt coordinator Remy Julienne. Somewhat ironically, producers didn’t know how to properly end the film, but that proved to be blessing in disguise, leaving The Italian Job with one of the most memorable and the most talked about cliffhangers in history of cinema.

Charismatic Caine dominates the film, overshadowing almost all cast members and making their characters all but forgettable. The most notable exception is legendary playwright and actor Noël Coward who enjoys role of regal, almost aristocratic crime lord who considers himself a British patriot. Popular television comedian Benny Hill appears in glorified cameo as computer expert with strange fetish towards women of fuller stature, that some viewers in our “woke” times might find politically incorrect. Maggie Blye as obligatory love interest is quite forgettable and lacks chemistry with Caine. On the other hand, many of such flaws are compensated with superb pace and brilliant soundtrack by American jazz musician Quincy Jones whose uplifting melodies prevent audience from taking this film seriously. Those includes likeable song “Self-Preservation Society” and opening ballad “On Days Like These”, which, when sung by Matt Monro, became great hit. Italian Job became hit in native Britain and European markets, but it failed in USA, which was often explained by poor marketing campaign by Paramount. The reputation of film steadily grew through the years and the predictably uninspired 2003 remake only helped to enhance it.

RATING: 8/10 (+++)

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