Novelist Max Catto has proved extremely popular with film makers and this has been adapted by Sidney Boehm from his 'Lions at the kill' with capable direction by Henry Hathaway and 'noirish' touches by Otto Preminger's preferred cinematographer Sam Leavitt.
'Caper' movies have always been considered a cut above those of the 'stick 'em up' variety as they are seen to be more cerebral and require the meticulous planning, split second timing, military precision and calculated daring which are beyond the lowly gun-wielding thief. For audiences a casino is a popular target as the money in its vaults has generally been acquired by dubious, nefarious means and whose patrons could hardly be called beacons of virtue. An interesting aspect of this particular film is the reverence shown to those with pots of dough or a coat of arms, hence the observation "whoever heard of a millionaire being thrown out of a casino because his manners were bad?"
Although it lacks the stylistic flair of the undisputed classics of the genre by Dassin, Melville, Verneuil and Huston it nevertheless has some good moments. In films of this type the fascination lies in how the 'unforeseen' can scupper even the best laid plans. Despite a few hiccups the heist itself succeeds but the aftermath with its ironical twists and dramatic revelation is totally unexpected. Some have found this to be anti-climactic but that is down to the individual viewer.
By all accounts Rod Steiger was not exactly Hathaway's cup of tea as he had originally envisaged Dean Martin in the role. Mr. Martin of course was involved in his own little caper called 'Ocean's Eleven' the release of which that same year was guaranteed to put this modest, black-and-white enterprise in the shade. The Oestrogen factor is supplied by Joan Collins. What you see with Miss Collins is what you get and what you get to see here is quite an eyeful. The casting represents the new breed versus the old guard and while Messrs. Steiger and Wallach are chewing the scenery it is veteran Edward G. Robinson who quietly steals the show.
'Caper' movies have always been considered a cut above those of the 'stick 'em up' variety as they are seen to be more cerebral and require the meticulous planning, split second timing, military precision and calculated daring which are beyond the lowly gun-wielding thief. For audiences a casino is a popular target as the money in its vaults has generally been acquired by dubious, nefarious means and whose patrons could hardly be called beacons of virtue. An interesting aspect of this particular film is the reverence shown to those with pots of dough or a coat of arms, hence the observation "whoever heard of a millionaire being thrown out of a casino because his manners were bad?"
Although it lacks the stylistic flair of the undisputed classics of the genre by Dassin, Melville, Verneuil and Huston it nevertheless has some good moments. In films of this type the fascination lies in how the 'unforeseen' can scupper even the best laid plans. Despite a few hiccups the heist itself succeeds but the aftermath with its ironical twists and dramatic revelation is totally unexpected. Some have found this to be anti-climactic but that is down to the individual viewer.
By all accounts Rod Steiger was not exactly Hathaway's cup of tea as he had originally envisaged Dean Martin in the role. Mr. Martin of course was involved in his own little caper called 'Ocean's Eleven' the release of which that same year was guaranteed to put this modest, black-and-white enterprise in the shade. The Oestrogen factor is supplied by Joan Collins. What you see with Miss Collins is what you get and what you get to see here is quite an eyeful. The casting represents the new breed versus the old guard and while Messrs. Steiger and Wallach are chewing the scenery it is veteran Edward G. Robinson who quietly steals the show.