Hold-up en plein ciel

Strong points of this film are scenes of Berlin, still showing signs of the war, and glimpses of London back streets in the mid-1950s, plus a strong cast, with Widmark, Patrick and Wolfit having the most striking screen presences.

APOG started off slowly, then became more interesting as the plot to steal the gold developed. But the last 30 minutes or so saw some implausibilities, not least in the actions of a couple of the characters, their changes of heart and the coincidental meeting right at the end.

This Mark Robson's film produced in England is more European than American. Only Widmark brings the US touch. This is not a bad film though, just common, without any more ambition to entertain and bring something unusual. I can't say any harm about it, but nothing exciting either. What can I say? In terms of heist film, there were dozens of this kind better than this one, for instance THE DAY THEY ROBBED THE BANK OF ENGLAND, directed by John Guillermin and also starring an American actor - Aldo Ray - for this British film too. Both films, however, show some similarities. Same kind of ending for instance.

Sergeant Lawrence (Richard Widmark) is a military officer stationed in Berlin after World War II. He meets and falls in love with an East German refugee named Maria (Mai Zetterling), who wants to relocate with a group of German orphans to South America.

Along with Sergeant Hammell (Nigel Patrick), Joe plans to steal a shipment of gold en route to England to finance the move. Although the robbery is executed to perfection, the trio begins to have second thoughts about parting with the loot.

It's a heist film but not of the dark kind - it's quite light with the romance between Widmark and Mai Zetterling which is enhanced by a nice romantic theme song by Joan Regan; Richard Widmark is less intense than usual and is more excitable, charming and jovial, especially when he sees Zetterling. Liked the scene where he drives her around in a Messerschmitt scooter. Is it sentimental? Yes, but it fits the tone of the film. Only gripe is that the relationship between Widmark and Zetterling should have been developed more.

However, it turns tense in the heist scene which is well done and quite tense - thanks mainly to Widmark looking like he's sweating buckets. Nigel Patrick plays the overly chatty posh guy who pilots the plane and is the chief villain, and George Cole (of TV Minders fame) is Widmark's friend. There's a good moral at the end - and positive ending, well for Zetterling and her sprogs. A pleasant and entertaining viewing.

Richard Widmark wants "A Prize of Gold" in this 1955 film that also stars Mai Zetterling and Nigel Patrick. Widmark plays American soldier Joe Lawrence, who is stationed in Berlin post-World War II. Joe is usually in some sort of trouble, but he has a marital indiscretion that he can hold over his commanding officer's head so that he looks the other way. Joe falls in love with Maria, a teacher in an orphanage (Zetterling). In order to get money to move the orphanage to Brazil, Maria has been cozying up to a wealthy benefactor. Jealous, Joe interferes and fights with the man, blowing the opportunity for Maria and the orphans sky-high. He promises Maria he will make it all right and therefore agrees to take part in a robbery of gold bullion that is to be transported. Things don't go as planned.

This is an okay movie, memorable because when Lucille Ball hid in Widmark's house during an "I Love Lucy" episode, this is the film he was promoting. It's not terribly impressive except for the Berlin locations. The film is shot in somewhat muted color. Mai Zetterling is very good; she was an actress with a wide range. Widmark does well in this roguish part, and Nigel Patrick turns in a strong performance as a sneaky accomplice.

Pretty run of the mill.

Richard Widmark gets to play a sympathetic role for once in this early heist thriller in which nearly ten years before producer Cubby Broccoli made 'Goldfinger' Widmark was already trading in Nazi gold in this smuggling yarn based on a novel by Max Catto to be cherished for the opportunity to see the likes of Mai Zetterling, Nigel Patrick at his most jauntily amoral, George Cole (speaking with an outrageous Scots accent), Donald Wolfit, Erich Pohlman and Olive Sloane in glorious Technicolor.

Boasting its own title song, with a score by Malcolm Arnold that's noisy even for him. Shot by future Bond cameraman Ted Moore it all looks terrific although the cute little red bubble car in which Widmark nips about Berlin is hardly 007's Aston Martin.