Harry, gentleman pickpocket

How can you enjoy a film about pickpockets that isn't a comedy, but a deep, emotional analysis of the fall of two master cannons (street slang for pickpockets) and the training of the next generation?

Easy.

Offbeat, it wasn't shot in glorious LA or New York or Chicago, but in Salt Lake City, the plain states and Canada. Featuring the always intense James Coburn as the titular character, with the great and glorious Walter Pidgeon as his aging, cocaine addicted mentor, supported by then rising stars Michael Sarrazan (fresh off his success in "The Groundstar Conspiracy") and Trish VanDevere (pre-George C.Scott), it took a peek behind the veil at one of the world's oldest professions, in your face robbery without the victim every knowing it.

Light and breezy during the small capers, but dark and brooding during the intervals, we see a changing of the guard, but one not born of pomp and ceremony, but of despair, loneliness and resignation.

The other posters are right. It would never be made these days. No sex, violence, guns, backstabbing, revenge or enough neon. So, hopefully, they'll never try to remake it and ruin the memory of a classic.

Original, offbeat character study with bracing dramatic moments stars Michael Sarrazin as an unskilled young thief in Seattle who gets himself and his new girlfriend (the appealing Trish Van Devere) hired on by a wily old pickpocket and his partner, a no-nonsense type with a big ego and a calculating manner. After some training, the foursome move on to Salt Lake City, where they become a finely-tuned team of cons. The smooth direction by Bruce Geller, the occasionally clever script from writers James David Buchanan and Ron Austin, and a superb cast including James Coburn and Walter Pidgeon promise a sure-fire movie. Unfortunately, the disappointing third act doesn't so much unravel as it does dry up, with the writing smacking of moralistic pandering ("Don't let this happen to you!"). Still, two-thirds of a great picture, one with a jazzy look, some amusing interplay and memorable characters. **1/2 from ****

Michael Sarrazin plays Ray Haulihan, a hard working but not typically efficient pickpocket, who lifts the watch of Sandy Coletto (Trish Van Devere) one day in a train station. This act sort of binds them together, and since they're both now in need of some finances (in going to confront him, she left her other valuables vulnerable), they go to meet with Casey (Walter Pidgeon), who's recruiting members for a team of thieves that will be masterminded by Harry (James Coburn, smooth as always). Casey and Harry are veterans of the pocket picking game, and therefore experts, who teach the young couple everything there is to know about it.

Much of the joy here lies in learning the lingo and watching the Harry / Casey / Sandy / Ray team in action as they finally start to gel. Tony Giorgio, who has a small role as a detective, served as the technical adviser, and the whole premise is fascinating enough to reel viewers in, with the presentation by writers James David Buchanan & Ronald Austin and producer / director Bruce Geller remaining largely matter-of-fact and fairly low key for the duration. Although this was marketed as a comedy, "Harry in Your Pocket" is actually pretty serious most of the time, although it's not without laughs. It benefits greatly from location shooting on a few American and Canadian locations (Seattle, Salt Lake City, Victoria) and good, straightforward storytelling, not to mention a wonderful music score by the ever dependable Lalo Schifrin. Hairstyles and fashions may help to date the film, but this is never a big distraction.

The quartet of principal actors all shines. Van Devere is very, very sexy, and Coburn is compulsively watchable as usual. But Pidgeon is a special treat as the endearing old timer who unfortunately happens to have a cocaine habit. (He also played a pickpocket in his penultimate film, "Two-Minute Warning".) Top character actor Michael C. Gwynne ("Payday", "The Terminal Man") has a one scene role as a fence.

A very fine film, overall, that deserves to be better known. It was the only theatrical filmmaking effort for Geller, better known as a TV veteran who'd created the classic series 'Mission: Impossible' and 'Mannix'.

Eight out of 10.

Harry in your pocket is not a lost masterpiece but more of a lost movie of the decade that was famous for it's crime genre cinema. It's one of the better Coburn films of the 70's and pretty decent all around. All four principal characters take the equal burden of the story, which never becomes boring, predictable or tedious. There are some great scenes that show us the tricks of the trade, but every bit of it remains interesting to the end. Walter Pigeon and James Coburn lead the way in a story of life on a day to day basis, never looking beyond tomorrow, and doing a job that might just take you down in flames, so enjoy it while you can. And they do, best clothes, best hotels, best food and coke, but never in one place for more than a week. Michael Sarrazin and lovely Trish Van Devere are great as well as a no future lovers who immerse themselves in Harry's combustible world of fast money and quick pleasures. The job is risky and takes it's toll, that's how it goes and the ending serves the story. I don't know why this movie wasn't released on DVD but it surely deserves the attention of all fans of 70's cinema. Find and enjoy.

I caught "Harry in your Pocket" on an on-demand cable channel, and I hadn't seen it since its original theatrical release. I have to say that I enjoyed it, partly because it is a great example of the early '70s antihero type of film, and because as a kid who grew up in Seattle where the beginning of the movie is filmed, it was cool to see the old buildings (long since replaced by skyscrapers) and the old restaurants like the Brasserie Pittsbourg and Rosellini's 410.

Much of the film is dated, particularly the hairstyles and the clothes, but not so much that ruins the overall enjoyment of the film.

Most people will enjoy the dissection of the act of pickpocketing, and the entire culture of the pickpockets, which is painstakingly explained. While amoral, the characters are likable, and the scene never gets too heavy, even though there is conflict.

The ending is typically downbeat, which like "Butch Cassidy" and others was a hallmark of these antihero type of films. Strangely, the movie was marketed as a comedy, but it really wasn't, particularly by today's standards. Not hugely important or groundbreaking, just a great example of Coburn's work and similar films of that era.