Too Many Crooks

Absolutely hysterical! I have never forgotten any of the Mario Zampi comedies I first saw as a teenager in the 1950s, especially this one & Laughter in Paradise. George Cole was in both (he's still around & working, lucky for us) & gives a brilliantly funny performance. Terry-Thomas has never been funnier. In this film he's like a broader version of Rex Harrison. Many of the set pieces (such as the undertakers in top hats pulling a criminal caper) & performances (especially by George Cole) seem like predecessors of Monty Python. The entire cast is perfect & includes Sid James & Bernard Bresslaw from the Carry On movies. One of the funniest films I've ever seen.

A wonderful British caper comedy from 1959, this film, along with School for Scoundrels (made the same year), probably stands as the most perfect vehicle for the caddish comic talent of Terry-Thomas. He plays wide boy entrepreneur Billy Gordon, who is targeted by the incompetent Fingers, or 'Mr X' (George Cole) and his criminal gang. When robbing the safe at Gordon's office proves unsuccessful, Fingers instead decides to kidnap Gordon's daughter, but things don't go according to plan... Too Many Crooks is a hilarious film, stylishly directed by Mario Zampi and featuring a wonderful script from Michael Pertwee. But it is the performances that really make it work, none more so than Terry-Thomas, who is a full-on tornado of one-liners, indignant snorts, impatient outbursts, and caddish cackles. Cole is also brilliant as a sort of proto-Arthur Daley, a bumbling no-mark with a taste for the lifestyle of a criminal mastermind, but almost no idea how to make it a reality. Further down the cast list, Bernard Bresslaw is memorably gormless as ex-wrestler Snowdrop (I love his Spike Milligan-style line 'I never heard of anything more precious than money. Except dollars.'), whilst Sidney James (a year away from achieving leading-man status with his first Carry On film) is as good as always as the frustrated professional crook fed up with Cole's fiascos; as is usual with James, his character is of course called Sid. The stunning Vera Day (who also appeared with Sidney James in the classic thriller Hell Drivers and Hammer's movie adaptation of the TV serial Quatermass II) plays Fingers' moll (or his 'nice little bit of X-certificate'), whilst such familiar faces as John Le Mesurier, Sidney Tafler, and Terry Scott have very funny cameos. About the only performance that doesn't quite work is that of Brenda De Banzie as Gordon's wife; a actress more noted for her dramatic turns in films like Hobson's Choice and The Entertainer, De Banzie does a good job as the meek housewife in the early scenes, but quite fails to convince as the re-invented crime boss and glamour puss later on; she plays these later scenes totally straight, and oddly, the script doesn't give her a single funny line. My favourite scene in the film has to be the one in which Fingers and Sid go to Gordon's office in the guise of police officers, which includes Cole's truly insane comic line 'A nod's as good as a wink to a blind horse. That's an old Latin quotation and it means 'is this your old woman's nightie?'', as well as Gordon's incandescent rage when the real police subsequently turn up and Gordon accuses the entire force of trying to blackmail him. The film is full of such wonderful episodes (the first attempted robbery and Gordon's appearance in court are also stand-outs), and it is a great reminder of a time when Britain used to make better comedy movies than any other country in the world.

The look and feel - and the influence, no doubt - at the start of this crime-caper could easily have Bogart and Cagney concocting a devious plan, such is the lighting and sinister mood of this film, part of the Terry-Thomas Collection.

However, as soon as the Cor-Blimey's emanate from these London cockney's the illusion is shattered and we feel reassured that this is going to be a who-who of British acting talent, mostly being really rather funny, or stupid. The caper itself is a devilish affair, a sort of film-noir since Brenda de Banzie gets kidnapped but her millionaire wheeler-dealer hubby Terry Thomas refuses to pay up as he's glad to be rid of her!

She then sets out get her own back on him and steal the ransom for herself, by persuading the crooks holding her that they'll each receive a share. In some ways, the plot matters little; it's scenes such as the Courtroom, with the always great John Le Messieur as magistrate, totally unable to control his subjects and of course, Terry Thomas himself, who is the epitome of OTT, rather vulgar and haughty - and sneering, mustn't forget sneering - sort of braggart that we know him so well for.

Production values, from Italian director Mario Zampi are well up on any Carry On's and probably on-par with the best Ealings, but slicker, which oddly doesn't suit rough-and-tumble comedy that well. That said, a minor but enjoyable British comedy, which mainly remains wholly watchable through our fondness for its many so-familiar stars.

A mix of future Carry-On regulars (Sid James, Bernard Bresslaw, a moment of Terry Scott) and greats of the Ealing scene (Terry-Thomas, George Cole, John Le Mesurier) get down to some serious fun in this typically good British comedy. Crime is always the best setting for Ealing comedy and this one features all the necessary bits ? Thomas' cad-about-town, Cole's bungling would-be criminal mastermind, James' surly crook, even a bit part for a young Nicholas Parsons as Thomas' daughter's suspicious taxman fiance. As usual, our cast get themselves caught up in some shenanigans trying to rob Thomas of his dodgy cash and get themselves sorted in the end through a mix of ingenuity and outrageous fortune, stopping to pile on the laughs at regular intervals. I loved it, but then I'd be quite happy just watching Terry-Thomas grinning for two hours. Fun.

Just watched this again and I am a bit bemused to say the least as to why this film is so overlooked in the catalogue of British comedies of the period, or any period. It is sensationally scripted for a start, this has to be one of the sharpest British screenplays of all time. It is as dark as any of the more celebrated Brit-coms, such as Ladykillers, but unlike that film it doesn't take itself so seriously, being directed and played as a light comedy, almost a theatrical farce. And it is possibly this lightness of touch that has left it sidelined against the others. Terry-Thomas is at his slimiest as the womanising miser who's amassed a fortune by avoiding the dreaded taxman, and George Cole is very nearly as good as the bungling self styled Mr. Big of a hapless criminal gang. The busy plot turns this way and that and has some really funny scenes in it, but the best thing about this film is in the cleverness of the screenplay and the subtle nuances of comedy that are handled very slickly by the cast of expert comedy character actors.