The description of her daughter (Audrey Hepburn) of a wealthy Frenchman (Hugh Griffith) who creates counterfeit art learns her father is in danger of being exposed as a criminal. He decides to steal the family, has been able to examine a new Cellini sculpture from a museum before experts and wins a society burglar (Peter O’Toole) to help her. Amazon. com key videoAudrey Hepburn has never been so elegant and glamorous in this delightful romantic caper costarring Peter O’Toole and direction. . . More>>
O’Toole and Hepburn mug and strut and read the lines. Hugh Griffith is poorly expressed. The script is extremely long, unbelievable, and only found here and there with a joke. And, boy, is the light in the small room where our stars and their prey are reading this linee.Totalmente artificial unamusing one of the least is the film of 1966. Rating: 2 / 5
I bought a VHS, but was sent a DVD. It is a gift, I do not know if it was seen again. I was thrilled to offer film classics and how fast I could get it. Thank you. Rating: 4 / 5
This is a pleasant enough romantic comedy, and Audrey is beautiful as always. You see, if you do this, for the comedy and the novel, because when a real disaster strike. The guardians of the museum) is played too stupid (and funny, a real challenge for our eroi.Il film suffers from being released, especially in comparison to undervalued Gambit (1966), a romantic comedy / caper film only within six months later has the wily gambit all plans, unexpected events, jump above all the sense of danger and challenge, which needs a movie and How to Steal a million missing. Rating: 3 / 5
Must have seemed like a good idea at the time and “How to steal one million” is not really a bad film – it’s just not as good as could be. Probably intended as a follow-up fun of Audrey Hepburn romp “Charade” – the Parisian atmosphere of the film shares – “How …” It is destined to suffer from the comparison. At the beginning of director William Wyler, after a long career, the ease of “Charade,” Stanley Donen. And surprisingly well, even though he, Peter O’Toole and Cary Grant. But then the script is not very well founded. Briefly, the plot revolves around Hepburn – as the daughter of art forger repentance – and his need to steal, “” Father sculpture led to a museum – before a test can demonstrate that it is a forgery. She wears the help of a sweet, over-confident, O’Toole, who believes in is an art thief “must. In fact, he is an expert in counterfeit art in the wake of Papa. Together, the two do not match a robbery moderately complex and inventiveness of the statue. Of course, the inevitable love raise your head on the road. One of the problems of the film is its large budget. Everything is bright and shiny and bright and new. clothes look like they were on the moment before the camera in the Roles placed. The trick is always perfect and her hair is never out of place. The slow rich production values look wonderful in a musical, but they tend to overwhelm or even a game. Even the music is too many. When a frothy broth Mancini has been sought, there is John Williams instead. His score was terrible in the sixties – which sounds even worse now. But there is still much work to enjoy the film – most of it supplied by the chemistry between Hepburn and O’Toole. For once, Audrey Waif like personality really fits his role and seems to have a laugh or two at his own image. O’Toole shows what a versatile actor who could be tossed, jokes and other reactions, like a comic pro. It is a pity not make plays like he has always been to enjoy it. Equally funny is Hugh Griffith irasible as another Codger old. But Charles Boyer is practically wasted (which has a good line: “I know that this Van Gogh’s, but who painted it? “), while the performance of twitchy Eli Wallach is even embarrassing. Films like these used to roll off the assembly line in the sixties and there were certainly many who were much worse than this. Fans appearance of Hepburn and O’Toole is – if not love – it. And the audience is not burdened by great expectations probably a good time as well have. If nothing else, as Rick said Ilsa: We’ll Always Have Paris. Rating: 3 / 5
This is my favorite films of Audrey. Blue Eye Peter O’Toole is to compare beuty withAudrey, but no one would see the film after his name, I suppose. I was fascinated by his sense of humor, not for his performances. This film is also a good lesson to learn ofParis the state capital. Rating: 5 / 5