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This film is sadly underrated (as is Charles Bronson's "Red Sun") for the fun it provides. Its an old-fashioned adventure story of a corrupt cop (Sharif) in a cat and mouse game with a gang of burglars led by Belmondo with a cache of emeralds as the prize. Its beautifully shot in widescreen and the music by Morricone is awesome. A great car chase is a bonus. What else do you want for 2 hours? Good laconic perf by Belmondo. Sharif as the vicious bent cop is good as well. Dont look for deep characterization; Verneuil's goal is the keep the story moving. The widescreen (2.35) ratio of this film requires a letterbox video treatment. Unluckily for us fans it may be a long wait before we see such a treatment.

¨The burglars¨ is a good French movie about hold-up with top-notch actors . Azad (Jean-Paul Belmondo) is a delinquent who along with a motley group (Robert Hossein , Renato Salvatori and his girlfriend played by Nicole Calfan) plans a robbing . Azad pretends the perfect robbery recruiting his expert accomplices but a Police Inspector named Amed Zacharia (Omar Shariff) tracks down on them . The hold-up is carefully schemed on the Tasco(Jose Luis Villalonga)'s home .The morning after newspapers publicize ¨Tasco robbed of 1.000.000 in emeralds¨. Meanwhile Azad falls in love with a gorgeous woman (Dyan Cannon). But the bad luck and the corrupt Zacharia does the crime gone awry.

This heist movie packs thrills, emotion, exciting burglary, extraordinary performances , spectacular car chases, and a moving finale . Sensational acting by two big star names, Jean Paul Belmondo and Omar Shariff. Belmondo steals the show , as he runs , bound and leaps ; such as Jackie Chan , he jumps over buses , cars and makes his own stunts . Strong secondary cast as Robert Hossein , Renato Salvatori , Jose Luis Villalonga , among others. Interesting and thrilling screenplay based on a novel by David Goodis , whose books have been frequently adapted on cinema as ¨Street of no return, Shoot the piano player and Dark passage¨ . Atmospheric cinematography by Claude Renoir , though is necessary an urgent remastering . Nice musical score with catching leitmotif composed by the maestro Ennio Morricone and conducted by Bruno Nicolai.

The picture is professionally directed by Henry Verneuil, a Turkish director working in France from the 40s. Although not a director of great reputation among the critics, his movies have almost all been aimed squarely at the commercial market. Verneuil is an expert on heist-genre such as he proved in ¨The Sicilians clan(68)¨ and ¨Melodie in soul soul¨, both of them with with Jean Gabin and Alain Delon, furthermore on Warlike genre : ¨Weekend at Dunkirk¨and ¨The 25th hour¨and even directed one Western : Guns of San Sebastian(68)¨. He seemed to have dropped out of the film-making after 1976, but in 1981 unexpectedly reappeared with yet another of his caper film : ¨Thousand millions of dollars¨. Rating : Acceptable and passable, a must see for French cinema lovers and Belmond and Shariff fans.

The first twenty minutes of "The Burglars" concerns a highly complex and detailed home invasion/safe robbery, with four crooks in Greece making off with a million dollars worth of emeralds; unfortunately for them, the chief investigator on the case is playing both sides of the law, and he's onto them from the start. Based on David Goodis' novel "The Burglar", and previously filmed in the U.S. under that title in 1957, this caper has such a meticulously mounted set-up that it's a bit strange to have it change gears almost immediately into a chase-laden cat-and-mouse game (with amusingly derivative elements). Dyan Cannon is used as (very lovely) window-dressing, but the real flirting comes between master thief Jean-Paul Belmondo and crooked cop Omar Sharif (they share a Greek meal together that is so specific, it's hard to believe the intimate tension wasn't unintentional). Some of the action is truly hair-raising, and the film is generally good-natured and well-made, if familiar. **1/2 from ****

I have been reading the work of David Goodis, an American writer who wrote dark thrillers in the 1940's and 1950's. After reading the novels, I have been watching (or re-watching) the film adaptations. Goodis's work has been adapted by Francois Truffaut (Shoot the Piano Player), Delmer Daves (Dark Passage), and Samuel Fuller (Street of No Return), among others. Henri Verneuil's film adaptation of Goodis's The Burglar is best watched on its own terms rather than as an adaptation.

The Burglars (film) keeps a great deal of the plot from The Burglar (novel). A group of burglars (three men and a young woman) are in the process of robbing emeralds from a house when a policeman (two in the novel) spots their getaway car. The leader of the burglars (Azad in the movie, Harbin in the novel) convinces the policeman/policemen that his car has broken down. The police car leaves and the robbery is finished. Everything appears fine, but then come the complications. A beautiful woman comes out of nowhere and begins to make eyes at Azad/Nat, setting up a love triangle with the female burglar. In addition, the policeman (or one of the policemen in the novel) wants the emeralds for himself, setting up a game of cat and mouse.

All of the above summary fits both the movie and the novel. The big difference is in tone. The movie is trying to be a crowd pleaser. The tone is mostly light, giving Jean-Paul Belmondo and Omar Sharif a chance to play off of each other. There is a fun car chase and a funny scene in a restaurant where the policeman insists on ordering the burglar's food. Also, the catchy Ennio Morricone score reflects the film's lighthearted mood (I own the soundtrack). On the downside, The Burglars is a little overlong and mostly wastes Dyan Cannon. In addition, while fun to watch, there is not much to reflect upon when it is over.

The novel The Burglar goes into much darker territory. It is a noir story, where the criminal hero finds himself struggling in traps both real and emotional as he balances two very different women and tries to survive the corrupt policeman. This policeman is not the cool, dashing Omar Sharif but an unhinged psychopath with no qualms about resorting to murder.

Here is an example of how film and novel handle a similar section. In both, the female burglar is sent away after the job. In both, the hero, Azad/Harbin, has to go and retrieve her. In the film, he resorts to riding around in a clown car, literally a car done up with a giant clown on the front, broadcasting an advertisement for the coming circus. This works in the film because The Burglars is the equivalent of a trip to the circus. However, the novel records its hero's journey with unease dripping from the pages.

"Then the road sign was past them and in front of them was the black and the booming storm. Harbin had an odd feeling they were a thousand miles away from Atlantic City and a thousand miles away from anywhere. He tried to convince himself the Black Horse Pike was a real thing and in daylight it was just another concrete road. But ahead of him now it looked unreal, like a path arranged for unreal travel, its glimmer unreal, black of it unreal with the wet wild thickness all around it."

The Burglars is an enjoyable enough heist picture, but The Burglar is a novel that gut punches the reader.

The first adaptation of David Goodis' novel 'The Burglar', directed by Paul Wendkos, is well shot and gritty but marred by the pretentious dialogue of the author's own screenplay.

As a complete contrast, in this later version from Henri Verneuil, glitz replaces grit and Vahé Katcha's dialogue is infinitely more prosaic.

Verneuil and Jean-Paul Belmondo had made their first film together in 1962 and nine years later they are on their fourth. It is essentially a comic book treatment which enables its star to do what his legion of fans adore which is to perform well choreographed, daredevil stunts and beat people up whilst keeping his tongue firmly in his cheek. We also have an obligatory girlie show and a car chase that goes on and on and on.......

The most interesting feature here is the dynamic between Belmondo as the thief and Omar Sharif as the crooked cop. Sharif invests a nasty piece of work with his immense charm and his French is impeccable.

Although technically proficient, this mucho macho nonsense is now very much a period piece which has not dated well and reminds us that Verneuil was the most American of French directors. American cinema basically fulfills the need to be distracted and here Verneuil has delivered two hours of total distraction.