ONCE A THIEF

Alain Delon

ONCE A THIEF (1965). Director: Ralph Nelson. Colorized.  

Born in Trieste, Eddie Pedak (Alain Delon), lives with his wife, Kristine (Ann-Margret), and little girl in San Francisco. An ex-con who may have shot a detective, Inspector Vido (Van Helfin), during a robbery -- Pedak was acquitted, however -- he comes under suspicion of a new robbery and murder in Chinatown and now Vido is on the case. Meanwhile Eddie's creepy brother Walter (Jack Palance) and his even creepier associates want Eddie to join them on another job that might net a huge profit in platinum. Eddie resists until he gets fired and discovers he can't get unemployment. But this caper might not go off without a hitch.

Delon with Van Heflin

Jazzed up -- literally -- with a loud, brassy and distracting score by Lalo Schifrin, Once a Thief still can't disguise the fact that its plot is really old hat. The ex-con trying to go straight; the unpleasant family associate who wants to drag him back in; the cop who's out to get him etc. etc. It's all been done many times before and this adds nothing new to the recipe unless you want to count two "sex symbols" in Ann-Margret -- who's not very sexy in this -- and Delon. Halfway through, the movie turns into a caper flick, but the robbery itself doesn't take up that much screen time. There is some excitement during the climax when thieves turn out, and Eddie and Vido turn into unlikely allies when the former's child is kidnapped. 

Ann-Margret with Delon

Delon gives a good performance; Ann-Margret is overwrought (even considering the circumstances) but effective enough; and Heflin turns in his customary professional job. Jack Palance seems more interested in putting on a show than in creating a real character, but on that level he's fine. John Davis Chandler and Tony Musante are suitably repulsive as Walter's unsavory associates, and Jeff Corey is notable as the lieutenant who tries to keep Vido in line. 

Verdict: Despite some interesting sequences and elements, this doesn't quite work. **1/2. 

NUTCRACKER: MONEY, MURDER AND MADNESS

NUTCRACKER: MONEY, MURDER AND MADNESS. 1987 mini-series. Various directors.

The true story of Frances Shreuder (Lee Remick), a women who decided that she needed her father's money to fund her elaborate lifestyle, and would do anything to get it, including outright thievery and embezzlement. But when she fears that Daddy (G. D. Spradlin) might cut Frances out of his will entirely, she cooks up a plot to have her sons kill him off. [The title refers to the fact that Shreuder managed to get a seat on the board of directors of the ballet, and her daughter was an aspiring dancer as well.] While Lee Remick is not perhaps the perfect choice for such a demanding role, she does give a credible and effective performance as the most monster mother of them all. Tate Donovan [Nancy Drew] and Frank Military are both excellent as Frances' deeply troubled sons, one of whom winds up in a mental institution. Inga Swenson [Advise and Consent] is excellent as Frances' outraged sister Marilyn, who has to watch as her mother, who always favored Frances, cuddles up to the woman responsible for her husband's death. As the mother, a superb Elizabeth Wilson [The Tunnel of Love] almost walks off with the movie. There is also very nice work from John Glover as Frances' friend, Dick; G. D. Spradlin as her father; and Tony Musante as her first ex-husband and the father of her boys. Four and a half hours long, in three installments, this has not a boring moment in it. Based on a book by Shana Alexander. Another book about the case, At Mother's Request, was also made into a telefilm.

Verdict: Fascinating look at truly twisted people. ***.