Charlie staubt Millionen ab

This thing starts moving and doesn't let go of you until the end, at which point you wish you were still on the ride going. We were surprised that we'd never herd of this before, especially since so many scenes are in video games these days (and times past).

This isn't one of those movies you spend your time thinking about, just sit down, watch, and let the movie unfold before you. If you're looking for good entertainment, this is it. If you are looking for meaning and some sort of significance, look elsewhere.

Good fast fun! 8/10

The picture narrates how a con Charlie (Michael Caine) has just left prison, and now wants to carry out a 'big job' , as he has plans to rob 4 million dollars worth of gold and being financed by Mr Bridger (Noel Coward) ,a Mafia-type boss, who is in jail . The job is to steal a lot of gold arriving in Italy from China but he needs to get a band together first. The motley thieves gang (formed by Benny Hill, Robert Powell, Tony Beckley, among others) whose mastermind is gathering specialists to pull off and execute a caper in Turin attempting to rob gold's bullion . In Italy, a clever plan is used to distract the authorities, while the raiders make their getaway in their Minis. They escape in their Mini Coopers, which are small enough to drive on sidewalks so they can make a clean get away before the traffic jam clears . This leads an excellent and unforgettable car chase sequence . Contains the legendary Mini Cooper pursuit images through Italian streets, and other dangerous ways as buildings, rivers, and sewers. After Charlie and his crew pull off a perfect heist of millions of dollars , worth of gold , occur several surprises.

This is a very amusing film dealing with a group of robbers, led by career criminal Charlie Croker stunningly performed by Michael Caine , as they create the largest traffic jam in Turin history, giving them time to pull off a theft of gold bullion. The film blends tension ,action packed ,comedy, emotion, suspense , plot twists and being pretty entertaining and bemusing . There are wild chases galore with impressive velocity car pursuits , making varied and spectacular caper s , with bounds by the streets , undergrounds , canals, highways and rooftops which lasts for several minutes . Furthermore , there's a clever ending twist as happen generally in those flicks . Actors' interpretation is nice and enjoyable . Michael Caine is cool, Margaret Blye 's delightful performance , plus enticing and attractive . Special mention the veterans Raf Vallone as Italian gangster and Noel Coward as typical British mobster .

Very good and colorful cinematography by excellent cameraman Douglas Slocombe . Catching and jolly musical score by Quincy Jones, including emotive song at the beginning by the usual Matt Monro . This moving film was well directed by Peter Collinson. Collinson's royal directorial treatment provides it with action, humor and majestic sweep . He was an expert on thriller (Sell out, Target on assassin), suspense (Spiral staircase, Ten little Indians, Open season), terror (Straight on till morning) , Warlike-adventure(You can't win ém all) , his biggest hit was this ¨The Italian job¨ , until his early death by cancer at 41 . The film will appeal to Michael Caine fans and hold-up genre enthusiasts. Rating: Highly recommended. It's remade by Italian Job (2003) directed by F. Gary Gray , while the original movie was in most part developed in Italy (Turin) in this remake the setting is in Venice and US (L.A.) , here the masterminds (Donald Sutherland and Mark Wahlberg) are gathering specialists (Seth Green ,Mos Def, Jason Statham ,Edward Norton) to pull off and execute a caper in Venice and again with the famous and legendary -for vehicle buffs at least- cars copied from previous movie . Worthwhile seeing . Better than average .

I enjoyed The Italian Job in general, I don't revere it as a classic but it is entertaining with a great cast, fabulous locations and a brilliant soundtrack. The secondary characters could have been developed much more though, and the direction was a little too flashy. That said, a vast majority of the dialogue is above decent, there are occasions where it could have been better, but it is good enough. It is well paced though, and the cinematography, scenery, set pieces and costumes are fabulous, Turin looks glamorous and the interiors from Twickenham Studios are stunning. Quincy Jones's soundtrack is brilliant, and the cast is first rate, with Michael Caine suave and charismatic, Noel Coward marvellous and Benny Hill great value. Overall, not a classic by all means but very good. 8/10 Bethany Cox

Troy Kennedy Martin, its scriptwriter, has described the central significance of the mini cooper in Peter Collinson's cult heist movie. Perkily speeding through the streets of Turin, it represents the then New Britain: `laddish, self-confident and not taking itself too seriously'. The image of the weaving, dodging, red white and blue cars is the film's abiding one. Outside of their use in the prolonged escape scenes, and several splendid comic moments elsewhere, it remains entertaining, even if surprisingly slight.

Often seen as a quintessential sixties' movie, ‘The Italian Job' is more precisely a definition (or one definition) of Britishness as an optimistic nation at the height of a chic decade. In this atmosphere, pulling a job – or a bird – is practically a national duty. Robbery is considered by Croker and Bridger as a means to `help with the country's balance of payments'. The ultra-patriotic Mr Bridger (a splendidly aristocratic Noel Coward, his cell walls pasted with pictures of royalty) sees the job as much a matter of national pride, a means to demonstrate the efficiency of the British system of work, than a route to amass loot. Characteristically Bridger is more interested in studying balance of payment statistics than examining escape routes for his operatives who appropriately enough travel to their ‘work' on the Free Enterprise 1.

The reference to football is significant and parallels with the sport are deliberate. Most obviously, the robbery is planned for the time of an England-Italy match maximising confusion and even,(as Bridger suggests at one point), possible help from their compatriots. Croker's men at one point assume the identity of a van full of fans, while the impromptu beer celebration in the back of the coach, after ditching the minis, is the team's victory drink. It is clear that the Italians, whether the police or the Mafia, are as much their opponents as the national team playing in the stadium. Back in prison, upon news of the triumph by his ‘team', Bridger descends the stairs, like a penal Alf Ramsey, acknowledging the chants of ‘England!' by celebrating fans.

Caine's cockney player is very much the main character of the film (a role apparently – and amazingly – originally offered to Robert Redford). The actor, who had earlier played the soliliquising womaniser Alfie in the 1966 film of the same name, reprises some elements of that character's optimism and assumptiveness. In the present film he is less of cynical loner, studiously subservient to his criminal employer, though still on the look out for a good thing both professionally and sexually. Like his more famous compatriot, James Bond, he drives an Aston Martin although quickly reduced to a bicycle and then a mini. The Mafia's cliff-side warning dents some of his self assurance, presumably also shaken by the roughing up from Bridger's men (although interestingly the beating is never referred to again, and leaves no physical marks.) Away from his boss he remains very much his own man, although his loyalty is never in doubt: `From now on we work as a team. Which means you all listen to me.' Crocker is always in control, never sentimental, being content to pack his girlfriend off with the minimum of ceremony at the airport. Emotion will slowly filter through Caine's screen persona. His watching of Beckermann's footage early on, to explain the big idea, anticipates Jack Carter's less dispassionate viewing of celluloid in Hodges' gangster film two years later.

Before the long, final chase ensues, the gang's Aston and two Jags are ceremoniously wasted by the Mafia. While making a simple point about the threat and power of the Italian underworld, the removal of ‘competing' vehicles also reaffirms the status of the remaining minis. Ironically if the film has a weakness, it lies in the mini's prominence, which reduces tension during the last part of the film. The stunts remain eye-catching today (the notable roof top jump being filmed on the roof of the Fiat factory), but very often one is aware of watching a demonstration of the vehicle's versatility rather than any dramatic bid for freedom. In one scene filmed, later deleted from the release print, the minis and their Italian pursuers performed gracefully together on an ice rink choreographed to a waltz, slowing the action even further. That such a scene was considered, and filmed, gives an indication of how taken the makers had been with the car, and with the *means* rather than the *process* of urgent escape.

Another less satisfactory element of the plot is the disappearing Mafia. Initially presented as a formidable, organised force (as in their synchronised appearance on the hill side for instance), the Italian hoods are sidelined as events unfold, criminal impotents. Their absence from the finale seems odd. With or without the Cosa Nostra's malign shadow, the existing conclusion of the film has excited much comment. With its famous shot of the coach balanced out over the precipice, the gold sliding towards its back end, and Croker's closing `I've got a great idea..', it is a literal cliff hanger. The original script tailed off with the escape, and another twist in the tail was clearly needed. After some debate a studio executive added the existing close, which could easily have appeared lame, but in the event proves a satisfying conclusion. By leaving the coach – and the viewer – hanging, the film has it both ways: the crooks get away with it and yet they don't; a group of white British lads triumph in their cool minis, only to have their plans derailed by a careless black driver of their coach. If the film has been about the state of ‘Britishness' at the time then the uncertainty of its conclusion anticipates, perhaps, the doubts and strife of the ensuing decades.

It is unfortunate that the 2003 film was released with the same name as the 1969 film because it clouds the (unsophisticated) mind with subjective judgment. For everyone who compares the two films - stop! The original was filmed in a different time period and the viewer must make a conscious effort to put him/herself in that state of mind to understand it. The film is pure entertainment, and it accomplishes that with humor and some clever stunts. As viewers, we need to be objective and aware of the differences that have arisen on so many levels as the years have passed.

For those who complain that the premise of the heist is not realistic, it was never supposed to be. Consider that if it had been intended as a realistic portrayal, the crooks would have killed those in their way and taken the loot without concern for collateral damage. The existing plot kept the mood decidedly "all in good fun."

Michael Caine made as good a performance as ever in this film. It is fun for fans of him to see the many different roles he has undertaken in his prolific career.