It’s not a secret for anyone familiar with The Wonderful World of Cinema that I love British films, especially the classic ones. They have a unique charm, especially with the actors and dialogue delivery that you don’t find in Hollywood films (and I’m not necessarily thinking of the accent). So, that’s why The Rule Britannia Blogathon (formerly The British Invaders Blogathon) hosted by A Shroud of Thoughts has always been one of my favourite blogging events. And we already reached the 10th edition! I’ve participated in four of them (not including this one) with a good variety of films: The Importance of Being Earnest, A Girl Must Live, Young and Innocent, and So Long at the Fair.
This time, I’m travelling to the Swinging 60s with Michael Caine, Quincy Jones music, flowery shirts and Mini coopers with The Italian Job, the original 1969 version directed by Peter Collinson. I saw this film for the first time in 2021 while doing a new-to-me British films marathon and declared in a top list that it was my favourite discovery of the year. Coincidentally, I was also led to watch two other films directed by Collinson as I was completing William Holden’s filmography. So, I also saw Open Season (in which he has a minor role) and The Earthling, which was Holden’s before-last film and Collinson’s last film, as he sadly passed away the following year at the young age of 44 after being diagnosed with lung cancer. Interestingly, these are three very different films in their genre and styles. I would like to explore more of his filmography to see if he is a kind of a Robert Wise or a William Wyler, directors who excelled in many different genres.
But let’s return to The Italian Job, undoubtedly Collinson’s most well-known film. It marked 60s film history and is one of those films I know I had heard of before seeing it but I need to remember whan and where exactly. I somehow have a feeling that my grandfather (whose father was Italian) once talked about it, but that might be a Mandela effect.
The Italian Job begins strongly with one of my favourite opening scenes in film history. That scene marks you visually and narratively and makes me want to see the film on the big screen (fingers crossed). On a road in the Italian Alps, thief Roger Beckermann, played by the handsome Rossano Brazzi, drives his luxury Lamborghini Miura. After going through a tunnel, he’s the victim of a planned accident organised by a Mafia gang led by Altabani (Raf Vallone). That scene has a very brutal change in tone. It’s a very poetic vision when Brazzi is driving, smoking his cigarette, the wind in his hair. That is wonderfully supported by the bewitching voice of Matt Monroe singing On Days Like These and Quincy Jones’ melody. The melody’s rhythm smoothly matches the car’s movement in the mountains. It creates an interesting contrast with what will happen later in the film. Then, after the accident, marked by a brutal explosion, the tone becomes darker, and the music changes with lower and more dramatic notes as the Mafia gang gets rid of Beckermann. Interestingly, On Days Like These was produced by George Martin, whom we also know as the 5th Beatle, due to his important contribution in making their albums.
So, after the brutal end of Beckermann, we are led to a prison in England where Charlie Croker (Michael Caine), another thief and Beckermann’s friend, is released without the idea in mind to stop his criminal activities. Little does he know about his friend’s passing, and he discovers it as he goes to meet him (he has a job in Italy for him) and instead runs into his widow. Beckermann has left a video with a mission for Croker: heist 4 million in gold from a security convoy in Turin, Italy. Croker manages to convince criminal Mr Bridger (Noël Coward), who is still in prison, to finance the project and recruits specialists to help him in one of the biggest heists in history (and to cause one of the biggest traffic jams you’ll ever see, which is, of course, part of the plan).
The Italian Job is a film that reflects a certain dynamism and that evolves in quite a sudden way. Its running time of more or less 90 minutes keeps us engaged despite a slower first act (not including the opening scene). Still, as soon as the troops arrive in Italy, we are captivated by the various peripeties and the visual action in Turin. I’m not someone who normally cares for car chases in films. However, that particular one is very different from what you’ll typically see, and its comedic vibe makes it captivating and fun. In a way, it reminds me of the car chase in Peter Bogdanovich’s What’s Up Doc? It doesn’t take itself too seriously and focuses more on the vehicles than the characters, giving a personality to the Mini Coopers driven by the crooks. As they are not super fancy cars like the one you see at the beginning, you feel they mock their victims even more. Luckily, scenes like that and others make the film memorable and engaging. They make us forget the slower moments at the beginning (not that slow is a synonym for lower quality, but, in this case, it’s not what you’ll remember the most). I also like how the narrativity is developed so we can sympathise with Croker and his crew and take their side, although they are criminals. Films that play with our perceptions like that are fascinating. Please, don’t make me believe that you want this bunch to get caught! Their crime is too perfect, and they give too much of a sympathetic vibe for that anyway. I mean, it’s groovy 60s’ Michael Caine, after all!
What also wonderfully contributes to the comedy aspect of the film is the contrast between Michael Caine and Noël Coward’s characters and acting. They were obviously from two different generations and great in their own ways. Coward had his more theatrical signature, while Caine was the new figure from London’s working class. He mixed his free spirit vibe and cockney accent with his obvious fanciness. Honestly, I just love his speech delivery in this film. There’s something very endearing about it. He really was a vibe and a way of life. Sadly, that was Noël Coward’s last film. He was pretty sick and retired from acting after that. He passed away in 1973.
The Italian Job is a film I would love to see on the big screen, not only for its opening scene, but also for its highly singular cinematography with a vintage charm. The colours pop wonderfully, as you would expect in a film from the late 60s, the Swinging 60s. During the car chase, the Mini of various colours are filmed in a way that makes them look like little toys. In a way, it reminds me of the beginning of Divorce American Style, which was released two years before. The bright and pop colours of the costumes are even more radiant and popper thanks to the art of cinematographer Douglas Slocombe. His work also includes Raiders of the Lost Ark, The Great Gatsby (1975 version), The Lion in Winter and a few Ealing Comedies.
Interestingly, we could find a lot of similarities between that film and the last one I reviewed, Cactus Flower, and one of them is Quincy Jones’s unforgettable score. Once again, this is another aspect that gives a fun retro 60s vibe to the picture. Moreover, it is in perfect synchronisation with the action and its tone. It’s not highly epic and orchestral Oscar-bait music. Still, it goes perfectly with the film’s mood and could be the kind of thing I would listen to while doing my everyday stuff at home.
Another aspect that resonates with me about The Italian Job is that the best part of the action occurs in Turin. It is THE city I’ve visited in Italy. Trice. I also went to Milan but was six months old, so I don’t remember anything about it. Turin is a genuinely underrated city, but it’s a good thing as it isn’t jam-packed with tourists like Venice or Rome. I don’t know why it is overlooked because it’s beautiful. It used to be the capital of Savoy (when Italy was a bunch of independent nations), so there are royal palaces and sidewalks made of marble. It’s truly majestic. Plus, it’s surrounded by the beautiful Italian Alps. The film gives us a glimpse of the city’s look but maybe not quite the real pulse as it remains, after all, a very British film. Anyway, if you plan a trip to Italy, I recommend Turin. Plus, there’s a great cinema museum there! We briefly see the building at some point in the film. It is one of the city’s landmarks. And well, the fact that it was filmed on location makes it truly authentic.
The Italian Job was remade in 2003 by F. Gary Gray. That remake starred “Marky” Mark Wahlberg in Caine’s role and Donald Sutherland in Noël Coward’s. I haven’t seen it, and although it’s probably not as good as the original, the fact that Edward Norton plays in it makes me curious because I love him. But I feel there might not be the same humour and quirky charm as in the original. If you saw it, I would be curious to read your thoughts!
Certainly, it’s the original remains that marked film history. It was ranked at the 36th position of BFI’s Top 100 British Films in 1999 and today holds a cult status and has a significant legacy. Do I personally recommend it? 100%! Although not perfect, if you have yet to see it, you are in for a treat!
Once again, it was a pleasure to participate in Terry’s blogathon! Make sure to read the other entries here.
See you!
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