How to Steal a Million 1966


Action / Comedy / Crime / Romance

Rotten Tomatoes Critics - Rotten 100%
Rotten Tomatoes Audience - Spilled 89%
IMDb Rating 7.6


In Paris, wealthy Charles Bonnet is well known in the art world as a collector of rare pieces, mostly of the impressionist masters. He will on occasion sell paintings from his collection at auction. In reality, he is an art forger, he only reproducing those pieces known to have gone missing. His daughter, Nicole Bonnet, wants him to stop this business fearing that some day soon he will get caught. She is most concerned about he loaning out his Cellini Venus statue to the Kléber-Lafayette Museum, as she knows that technology can now test for things such as material age which would prove that the statue and by association he is a fraud. He ends up causing a problem for himself when he signs a $1 million insurance policy for the statue for the museum, which unwittingly allows them to test the piece for its authenticity. To save her father from jail, Nicole feels the only thing she can do is try to steal the statue from the gallery which may not be the easiest thing to do especially as ...

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2015-11-01 00:06:45



Audrey Hepburn as Nicole
Eli Wallach as Davis Leland
Peter O'Toole as Simon Dermott
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870.51 MB
Not Rated
24 fps
2h 3m
P/S 1 / 14
1.85 GB
Not Rated
24 fps
2h 3m
P/S 4 / 9

Movie Reviews

Reviewed by silverscreen888 7 / 10

A Filmic Bon Bon; a Trend-Setting, Light-Hearted Romp

The trio of William Wyler directing, Audrey Hepburn as a charming French woman in need of help and Peter O'Toole as the dashing fellow who agrees to commit a crime for her seemed at first glance to many film aficionados to be potentially a fine partnership for making a winning comedy. "How to Steal a Million" in fact turned out to be atmospheric, very French, very sophisticated and a great deal of fun. The clever story and screenplay by George Bradshaw and Harry Kurnitz worked almost everywhere, I suggest. Some of the film's humor seems obvious to me--the use of rotund Gallic comedian Moustache borders upon parody at times; but this is a fundamentally light-hearted romp of a film from its flimsy but serviceable premise to its satisfying romantic conclusion. It is a comedy; and it turns upon O'Toole's ability to devise a means of stealing a well-guarded art object from a major French Museum, a physical feat which he proves to be quite capable of achieving. The reason he is asked by Hepburn to plan that robbery is that the lovely statue now on display is about to be examined and authenticated by experts--and her father created the work, as he has created so many others, his charming and adroit forgeries. There are several other currents at work in the plot as well; there is a U.S. buyer after the piece, Hepburn 's belief that her champion is a crook turns out to be an unfounded assumption, and he is falling in love with her as she is with him throughout the unfolding of actions and events. The production is expensive-looking but never "heavy" in feel to my way of thinking. Givenchy did Miss Hepburn's gowns, Charles Lang was the cinematographer, and the production design by Alexander Trauner and the bubbly music by John Williams both served the story very strongly. In the cast, O'Toole and Hepburn seem perfectly mismatched; she is a bit inconsistent, I believe not knowing how "old" to play her part; O'Toole is intelligent, and plays both a crook with a sense of humor and a romantic admirer of Miss Hepburn's very successfully. Her father who proudly but inadvertently loans the piece to the Museum and misses the clause relative to its being examined by experts is Hugh Griffith, who suggests as much as he blusters. His likability is the key to the plot, because if he were not talented and likable and worth saving, the viewers would not accept the story-line'e basic premise--much ado to save him. Eli Wallach is bright as usual as the obsessed would-be buyer; others in the cast include Charles Boyer, Fernand Gravey, Marcel Dallio, Jacques Mann, the aforementioned Moustache and Roger Treville. The film is often discussed as if it were a trifle, a cinematic glass of champagne and a delightful and only a bit-overlong comedy. the attitudes expressed miss the three points of the film...It is noir, since the police cannot be brought into the case; it is comedy, which means its tone of light-heartedness and clever dialogue is very often exactly right; and its sub-plot is adventure, a very daring and ingenious combination of psychology, physical paraphernalia and enjoyable suspense. It is well-liked by many, and as a writer, I am certainly one of its admirers..


Reviewed by elvircorhodzic 7 / 10

"You don't think I'd steal something that didn't belong to me, do you?"

HOW TO STEAL A MILLION is a romantic crime drama film which, through an illusion of fiction, merges art and fraud. A clumsy fraud, mixed with a pleasant romance, can quickly enter in our hearts.

Charles Bonnet is well-known as an art collector, but actually he copies famous works of art. His daughter Nicole disapproves his "work" and is also afraid that he may get caught. His replica of a famed Cellini sculpture is inadvertently displayed in an art museum, and he begins to worry that he'll lose his reputation once the experts evaluate the statuette. Nicole decides to steal sculpture from the museum with the help of a mysterious burglar. However, her assistant is actually a well-known private detective who investigates frauds of her father...

A simple story with lot flaws is enriched with a very thrilling twist. The film is full of fictional tricks, through which it develops a delicious romance. Mr. Wyler has managed to create a frivolous version of double deception. He has, through a healthy dose of humor, emphasized Mrs. Hepburn style. A scene with a key is probably one of the most memorable. I think that a key has a double meaning in this case. This is a key to the heart and the truth.

Audrey Hepburn as Nicole Bonnet is, as always, a magic woman, this time in the role of a romantic rich girl and morally sensitive daughter at the same time. Peter O'Toole as Simon Dermott is a calm seducer, between an eccentric detective and inexperienced burglar. All for love. There's good chemistry between the two of them.

Hugh Griffith as Charles Bonnet is funny an art counterfeiter. Eli Wallach as Davis Leland is crazed collector, who effectively shows the characteristics of a sexual perversion.

Every art is a kind of deception!? Each theft is a form of art!? However, it is very difficult to mislead or steal one's heart.

Reviewed by James Hitchcock 8 / 10

How to Make a Film about Stealing a Million

"How to Steal a Million" is a heist comedy film, a genre which became fashionable in the late sixties. Such films tell the story of a crime- in this case the theft of a statue from a Paris art gallery- in a light-hearted manner and from the point of view of the criminals. In 1966, however, there was a problem with films like this. The Production Code, which among other things forbade films which showed criminals getting away with it, was still officially in force. (It was not abolished until the following year). Admittedly, it was no longer enforced with the rigour which the Hays Office had shown in the thirties and forties, but this did not mean that film-makers could ignore it altogether.

So how do you make a film about stealing a million? Or how did you go about doing so in 1966? Well, the first thing to do is to cast as the main criminal somebody whom the audience could not possibly dislike. And who in the Hollywood of the mid-sixties was more lovable than Audrey Hepburn? It's not just that the divine Audrey, at the age of 37, still held the title of "World's Loveliest Woman" which she had held for well over a decade. Her whole public persona, both on-screen and off, was that of a genuinely decent and kind-hearted person. She had never, as far as I am aware, played a villainess in any of her previous pictures, and, of course, does not do so here.

The second thing to do is to establish that the criminals are acting out of a selfless, disinterested motive. Charles Bonnet is well-known as an art collector, but he also has a sideline in forging paintings and selling them to rival collectors. His does it not so much for the money- he is already immensely wealthy- but for the artistic intellectual challenge of being able to produce something indistinguishable from the work of a great master and to fool the experts. Forgery seems to run in the family, because Charles's father was also an expert in the trade, although he specialised in sculpture rather than paintings.

Audrey plays Charles's daughter Nicole, who unlike her father and grandfather has moral scruples about forgery. She loves her father deeply, however, and when he takes the risk of lending a forged statue, supposedly by Cellini, to an exhibition, she decides that she will have to protect him from himself. She knows that the statue will be subjected to scientific tests which will reveal its dubious provenance, thereby ruining Charles's reputation. She decides that the only way to do this will be to steal the statue from the museum, and to this end recruits the help of a young Englishman named Simon Dermott, whom she wrongly believes to be a professional art thief. In fact, he is a private investigator tasked with countering fraud in the art world, but he decides to play along because he has fallen in love with the lovely Nicole.

The film seems to have been an influence on some later heist movies; the idea of a precious artefact being protected by laser beams which will trigger an alarm if broken was also used in the Sean Connery/Catherine Zeta Jones vehicle, "Entrapment". (Catherine can be considered a successor to Audrey's "World's Loveliest Woman" crown). The differences between the two films are indicative of the way in which the heist genre developed between the sixties and the nineties. In "Entrapment" the thieves' motives are purely self-interested, and the film-makers treat their subject matter semi-seriously, whereas "How to Steal a Million" is a pure comedy.

And as a comedy it is a very good one. The way in which Nicole and Simon go about removing the statue from the museum is, looked at logically, pure nonsense, but somehow the cast and director William Wyler make us believe in it. Peter O'Toole as Simon shows an unexpected talent for comedy starring, the splendidly over-the-top Hugh Griffith makes Charles a lovable rogue and there is a nice came from Eli Wallach as a devious American millionaire who pretends to be a suitor for Nicole's hand when he is really far more interested in getting his hands on the "Cellini" statue. But, of course, the main factor contributing to the film's success is Audrey's comedic skills and her ability to convey meanings and emotions by the slightest gestures and inflections. This is a film in the same class as her other great comedy with Wyler, "Roman Holiday". 8/10

A goof. The statue is described as being "29 inches high" when it is nowhere near that size. Perhaps someone meant 29 centimetres.

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meito_walker profile
meito_walker October 04, 2016 at 08:52 am

This was truly entertaining to watch.

luxxy profile
luxxy August 06, 2017 at 11:48 am

I love this movie! Thank you YTS!