La grande attaque du train d'or

The year is 1855. The place is England. A man going by the name of Edward Pierce (Sean Connery) has his eyes on a near impossible heist. He wants to steal the Crimean gold that goes by railway from one part of England to another. Besides the fact it's guarded at the time of transit, the safe requires four separate keys that are in three separate locations. Oh yeah, and no one has ever robbed a moving locomotive before. I suppose he could Butch-Cassidy-and-the-Sundance-Kid it and force the train to stop, then blow open the safe. But this is England and no such brutish tactics will be used. This will take stealth, guile, and intelligence. In other words, it was a sophisticated operation.

This was a superb heist movie. It was clever, it was cohesive, and it was funny. I liked the pairing of Connery and Donald Sutherland. Heist movies always have to be clever and cutting edge because the mark is always super-secure and nearly impossible to breach. What sets one heist movie apart from the other is the story within and the characters. This story was straight forward and simple. There were no red herrings, no sappy side stories, and no deux ex-machinas. And the characters were very enjoyable.

This Michael Crichton film was simply excellent.

'The First Great Train Robbery' is about a quite impossible mission in Victorian underworld... It is about 25,000 pounds in gold bars placed in strongboxes and taken by armed security guards to the railway station...

'The First Great Train Robbery' is about the fastest pickpocket you'll ever see, a suave and daring gentleman who never tells the truth… It is also about a bunch crooks that can steal your heart with the company of a fascinating disguised mistress who suspects that her father breaks his own regulation for each morning of the shipments...

'The First Great Train Robbery' chronicles the grandeur and hypocrisy at all levels of England during the Victorian Era, and proves that the cleverness and prowess of a criminal mastermind is elevated to heroic status...

With excellent photography of Ireland beautiful countryside, and great music score by Jerry Goldsmith, plus the costumes and sets, Michael Crichton's movie gives train heist's fans the pleasure to enjoy a very entertaining period thriller

I was very surprised when I saw that "The First Great Train Robbery" was written and directed by Michael Crichton. This is because Crichton is normally associated with sci-fi and fantasy, such as "The Andromeda Strain", "Coma", "Westworld" and "Jurassic Park". But apparently in 1975, Crichton wrote a book about this actual robbery in 1855...though the film ended up being highly fictionalized, particularly the ending.

The first two-thirds of the film is very slow and meticulous. I didn't mind this too much, though I am sure this will lose a lot of viewers. My suggestion is bear with it. First, it is well crafted. Second, the look of VIctorian London is wonderful....so take time to enjoy what you are seeing. The final portion is much more exciting and concerns the robbery itself. It's amazing to see Sean Connery doing his own stunts* and the footage is incredible...and it must have been incredible to see on the big screen.

Overall, a slow and deliberate movie that is great provided you don't mind the pace or that too much of the story is fictionalized in order to make the story more cinematic. The ending, in particular, is pure fiction and the real case, though interesting, is much different.

I do have two further comments. First, the sound on this DVD was abominable...with music that is so much louder than the dialog. You really do need the closed captions in order to watch the film....it's that bad. Second, one mistake I noticed is that the 'gold' in the film was ridiculously lightweight...and seeing Connery and Sutherland EASILY tossing the bags of gold off the train (as if they were filled with newspapers or scones) was silly.

*I know that they touted how Sean Connery did the insane stunt of climbing across the moving train and he clearly did. But in a few scenes, despite the hype, I do strongly suspect that a stuntman was occasionally used...such as when Connery's character is hanging off the sides of the moving train.

The Great Train Robbery follows the standard heist movie blueprint. The team gets assembled to pull off an impossible job, they do all of the complicated prep work, then there is a last minute complication that makes it much more difficult than they expected. What stands out here is the setting, Victorian England, and the much smaller crew of thieves than usual. Most heist movies have a huge crew of 10+ characters that each need to have their characters explored. Here there is just the mastermind (Sean Connery), the pickpocket (Donald Sutherland), the girl (Lesley-Anne Downs), and the greaseman (Wayne Sleep). There are a few others, but their characters are so minor that they do not even get names. Rather than get sidetracked covering side characters, there is a strong focus on moving the plot forward that makes the entire movie more interesting.

What also stands out is the impressive stunts that were done mostly without stuntmen. Wayne Sleep really scales a wall and Sean Connery really walks across the top of a moving train. In today's CGI heavy film industry, it is refreshing to see an older movie that stays simpler with its big stunts, but they feel much realer, because they are. A lot of the movie relies on Sean Connery's natural charisma, which is the secret to a good heist movie, and Connery holds up very well compared to Clooney and Sinatra in the Ocean's movies and Newman and Redford in The Sting.

Writing and directing The Great Train Robbery, Michael Crichton took much license with the facts of the story's basis, mostly to incorporate a tone of sardonic humor and mean-spirited mustachioed grinning. Sir Sean Connery has always been a great light comedian, having played Bond as a discreetly comic character. That's probably why Lazenby and Moore never totally matched him: They played 007 too orthodox. In Connery's charismatic oeuvre, master safecracker Edward Pierce is no exception.

The inimitable Donald Sutherland, playing a Victorian pickpocket and con man, is somewhat miscast as Connery's partner. He is not convincingly English, to my surprise frankly, though he does bring a new characteristic or two to virtually each film he's in, and here he's not just Connery's cohort but his foil. Leslie Ann Down plays Connery's moll and co-conspirator, and she appears to have been preordained to wear Victorian undergarments.

The plot for the heist is rather upfront: The train's safe, containing the gold, is protected with four keys, each in different hands. The challenge is to divide these holders from their keys, if possible in scenarios that serious, by-the-book Victorian gentlemen would be opposed to explaining to the police, so one aged banker is shadowed at a dogfight and another is intercepted in a brothel. There's also a Stopwatch Sequence for caper enthusiasts like me: Connery and Sutherland undergo numerous trials before endeavoring to burglarize the railway company office, and we get a gracefully stage-managed robbery effort with all the timeless taps like the guard reappearing a nanosecond after the critical moment and such.

One of the foremost amusements of this drum-tight caper is the way it's determinedly in the Victorian era. The costumes and the art direction are sincere, Crichton infuses his dialogue with undoubtedly genuine Victorian gangland wording, and, for the climactic train heist, they even constructed a whole operational train. Other gratifications: The nefarious deception used to smuggle Connery into the protected car with the gold; the chase sequence atop the train; and, certainly, the loin-scorchingly superb presence of Down, who is wryly funny in her own right.

An ornately thorough and exciting caper that parades historical accuracy in support of the tempting charisma of gentleman scoundrels up to no good. Connery and Sutherland are unscrupulous to their foundations but full of audacity and shrewdness. We're supportive of them all the way, with their dashing top hats, rustling coat-tails and panorama of facial hair.

There's a patent two-act structure to the proficient script. Crichton has a scientist's sensitivity to exactitude. First the crack team toil through the preparation phases, as they progressively appropriate indentations of the four keys necessary to unlock the safe, resulting in the heist itself on a train tearing through the British scenery. In the course of this era of steam power, it appeared a hopeless scheme. Meek, perhaps, by the wicked tempo of modern action sequences, Crichton nevertheless infuses a rousing realism with Connery mannishly performing his own stunts as he traverses the rooftop through clouds of grimy smoke, for the golden fleece.

All around, Crichton absorbs the tissue and texture of whimsical Victoriana from the bitter brick walls of the prison for Wayne Sleep's lithe prison escape to the plush, glossy furnishings of the brothel where the sexy Down slips a key from Alan Webb's frenziedly horny bank manager. But naturalism is not the approach, Crichton is after a giddy attribute like it's being told as a tall story in a pub sopping in overstatement and heightened deceit to whitewash impractical snags.