AFTER THE FOX

Peter Sellers

AFTER THE FOX (1966). Director: Vittorio De Sica.

Aldo Vanucci, a notorious criminal known as the Fox, escapes from jail to participate in the theft of a fortune in bullion known as the "Gold of Cairo." Working with a mysterious man named Okra (Akim Tamiroff), who only speaks through his beautiful companion, Aldo decides to make a movie about the theft and only pretend to be carrying off the gold. He inveigles aging American star Tony Powell (Victor Mature) to play the lead, and casts his aspiring actress sister, Gina (Britt Ekland) as his leading lady. The entire town turns out to participate in "Federico Fabrizi's" movie, but the best-laid plans ... 

Based on a play by Neil Simon (who also wrote the screenplay) this seems more like an attempt to cash in on the success of The Pink Panther and its sequels, but there's a reason why this never had any sequels. There are amusing and clever ideas and moments in the script, but they never quite jell, and the logistics of the crime are so hazy that the audience can't follow along, which is essential even in a comic caper treatment. De Sica may not have been the right director for this project -- he plays himself in a cameo -- but while star Sellers is good, he's simply not as farcical and as funny as he should have been; possibly he found the weak material uninspiring. Mature [Kiss of Death] is terrific as the vain actor whose dyed hair leaves streaks on Gina's face; Tamiroff [The Vulture] is as adept as ever; and Ekland [The Wicker Man], who was married to Sellers at the time, is also good and fetching. Martin Balsam has some funny moments as Tony's handler, and Lando Buzzanca makes an impression as a chief of police. This is one of those movies that probably looked hilarious on paper but just doesn't work out in actuality. The final gag is especially lame.

Verdict: Not one of Sellers' better movies nor performances. **.

LOOPHOLE

Albert Finney and Martin Sheen

LOOPHOLE (1981). Director: John Quested.                                                  

Stephen Booker (Martin Sheen), an American architect living in England with his wife (Susannah York) and children, discovers that a certain deal didn't go through and he has lost his job. He also discovers that potential employers find him over-qualified, and there are no openings anywhere. Meanwhile, his and his wife's debts are mounting, the kids are in expensive private schools, bank loans are being called in, and things look pretty dire. Mike Daniels (Albert Finney) does offer Booker a job doing work on a building that he owns, but it turns out that Daniels doesn't really own the building and the job actually has nothing to do with floor extensions and everything to do with robbing the safety deposit vault in a bank. Booker can use his expertise to get the men through the rat-infested sewers below the bank and up to where the booty waits. At first Booker is appalled by Daniel's proposal, but as his debts mount up he decides to join in ... 

Robert Morley

Loophole is one of those caper films in which the robbers seem like friendly, nice guys who would never think of shooting anyone or betraying one another, and even Booker -- who was pulled into this scheme in a very duplicitous way and should be furious -- seems to be enjoying their company. The possibility that Booker may have planned or even achieved revenge on all of them is only intimated, and many viewers felt cheated by the somewhat abrupt and ambiguous and even illogical ending. A climax in which the tunnels are flooded as the thieves try to escape is well-handled, but it's hard to believe there would be such raging torrents in the sewers after such a short period of heavy rain. The film holds the attention but the characters are not developed that well. The very American Sheen and very British Finney actually work together very well, and although her part is small Susannah York has some good moments as Mrs. Booker. Robert Morley has only two brief scenes as Booker's anxious banker, but his presence is always welcome. Jonathan Pryce also scores as one of the robbers. 

Verdict: Rats, sewers and floods are always fun. **1/2. 

THE LADYKILLERS

Peter Sellers, Alec Guinness, Herbert Lom

THE LADYKILLERS (1955). Director: Alexander Mac|kendrick.

Professor Marcus (Alec Guinness of The Swan) heads a group of motley individuals who are planning a heist. Without her knowledge, his temporary landlady, Mrs. Wilberforce (Katie Johnson), who thinks Marcus and his friends are musicians, is made a pivotal part of the plot. When she discovers the truth, the gang may have a bit of a problem on their hands, but which among them wants to "take care" of an old lady? The Ladykillers is an arresting and very strange movie that could easily have been played perfectly straight, but instead is a very black comedy that illustrates the theme of Thieves Falling Out. Johnson is wonderful as the sometimes dithery, annoying but strong-willed Mrs. Wilberforce, and there are fine performances from Guinness; Herbert Lom [Mark of the Devil] as Louie, the nastiest of the bunch; Peter Sellers as Harry; Cecil Parker as Major Courtney; and Danny Green as the hulking "One-Round." It's amazing how the film is able to take murderous threats and actual killings and make everything so oddly amusing. Sellers, who one would not necessarily take for a budding major movie star, later appeared with Herbert Lom in a whole slew of Pink Panther movies.

Verdict: Decidedly unusual caper film. ***.

THE GREAT TRAIN ROBBERY

Sean Connery looking diabolical

THE GREAT TRAIN ROBBERY (aka The First Great Train Robbery/1978). Director: Michael Crichton.

In days gone by a man named Pierce (Sean Connery) puts together a crew that plans to steal gold off of a moving train. First he has to manage to make copies of four golden keys that will provide access to the booty, no mean feat. There are many assorted complications embroiling the likes of associates Agar (Donald Sutherland of The Day of the Locust) and Miriam (Lesley-Anne Down of The Pink Panther Strikes Again), as well as others. But even if Pierce succeeds in robbing the train, will he get away with it completely or did he overlook one particular detail? Novelist Michael Crichton ["Micro"] adapted and directed his own novel and doesn't do a bad job with it. The picture is intriguing and has several very suspenseful sequences, especially when Pierce has to climb over the tops of the railway cars ducking low bridges [one amazing shot has Connery nearly getting it in the head]. There's also an excellent sequence when one of the conspirators engineers an escape from Newgate prison while a hanging is occurring in the courtyard. As usual with Crichton, there are no real characters in this, just types, but the acting is more than adequate.

Verdict: Entertaining Victorian caper flick. ***.