Seven Thieves

"Theo Wilkins" (Edward G. Robinson) has put together a plan to steal $4 million from a casino in Monte Carlo and he specifically asks an old accomplice named "Paul Mason" (Rob Steiger) to assist him. Also conspiring with him are five other accomplices who each have their own interests and it's for this reason that he has asked Paul to join in this caper as Theo desperately needs someone on the team he can trust. Although Paul is initially reluctant to join him he is eventually persuaded due in large part to a woman on the team named "Melanie" (Joan Collins). The problem though is that she has a possessive boyfriend on this team by the name of "Pancho" (Eli Wallach) who she feels a certain loyalty towards. In any event, the mission is quite complicated and because of that all seven members of the team have to work together in order to accomplish it. Now rather than reveal any more I will just say that this was a decent crime-drama which could have been better had it had a bit more action or suspense. Even so, it was still entertaining enough for the time spent and for that reason I have rated it accordingly. Slightly above average.

Seven Thieves is an intricately plotted and well acted caper yarn. It combines beautiful Monte Carlo setting with seven distinct characterization. A host of international professionals are on hand including Edward G. Robinson, Eli Wallach, Sebastian Cabot, Alexander Scourby, Berry Kroger, Marcel Hillaire, John Berardino, and most of all, Joan Collins and Rod Steiger.

Collins, generally not one of my favorites, gives a marvelous performance, surprisingly reminiscent of Sophia Loren. Steiger starts the movie off being belligerent and one-note, so much so, that I wasn't certain I would continue watching. But, soon we gradually see why Edward G. wants him on his team so badly. Next, things get very taut and laced with whimsy and dry humor.

If you enjoy caper films that make you think, watch this one.

"Seven Thieves" is an average but interesting little "rob the casino" caper, raised a level by the quality of the acting.

Edward G. Robinson stars as "the professor" who masterminds a plot to rob a Monte Carlo casino. For Robinson, this represents his one last chance to make a major score before he cashes in. Rod Steiger plays on old acquaintance from the States whom Robinson tries to recruit in order to complete his team. Joan Collins, looking gorgeous, is the femme fatale and Eli Wallach as Poncho the Sax playing member of the group. Michael Dante, Alexander Scourby and Berry Kroeger round out the rest of the "Seven Thieves". Sebastian Cabot also appears as the casino director.

Robinson in what amounts to a supporting role, is excellent as always. Steiger's method acting seems a little misplaced here, however under Henry Hathaway's direction, he does deliver a good performance. Collins was never more beautiful and performs a couple of provocative (for 1960) dances in a cabaret with Wallach.

"Seven Thieves" is always interesting but contains little in the way of physical action. There are a couple of surprises as well, but I thought the ending was a bit of a let down. Nevertheless, It is still an interesting film to watch if only see the performances of the stellar cast.

It seems like only yesterday that the gang and myself went to see this SEVEN THIEVES picture. It was playing at our local movie show,The Ogden Theatre at 63rd & Marshfield, here in Chicago. It was a Double Feature with THE PURPLE GANG, a production from Allied Artists (formerly known as Monogram Pictures, a long time resident of Hollywood's Poverty Row.

The advertising stated that it starred "........Edward G.Robinson(Little Ceasar) and Rod Steiger(Al Capone)." Gangster films were enjoying a renewed popularity at that time. AL CAPONE was released the prior year and did okay at the Box Office. Desilu Playhouse had aired the two part "THE UNTOUCHABLES", which led to the weekly series.

Well, my 13 year old mind thought that we were seeing something that would be like 'Little Ceasar Meets Al Capone!" We all left the show giving the 'thumbs up' to THE PURPLE GANG, but not really caring for SEVEN THIEVES. Small wonder, when a bunch of kids see a picture like this that will have a lot of material that was really "TWA"(over our heads).

Well, only a few months ago this former guttersnipe saw SEVEN THIEVES again. This time I understood it, I think.

Billed as "The Robbery That Rocked Monte Carlo!" It is a caper film, and a very good one at that. It has a fine cast, in addition to Mr. Robinson and Mr. Steiger, Joan Collins, Elli Wallach, Sebastian Cabot, Alexander Scourby, et al.

Anyone would enjoy this film. It's well worth seeing, and our old gang would heartily agree.

A so-so caper movie that somehow fails to take off despite a veteran cast and director. There's lots of casino glitz, a sexy Joan Collins, and an inherently suspenseful premise, but the elements never really come together. I agree with the reviewer who thinks Steiger miscast. His is the central role. Yet he's so humorless, his enforcer-leader fails to generate needed sympathy for the caper (I gather director Hathaway was also unhappy with the grimness). In fact, with Robinson's exception, none of the characters is particularly likable. As a result, viewers are not encouraged to engage with the caper, but instead to simply observe it. At the same time, ace director Hathaway films in uncharacteristically impersonal, uncompelling fashion.

Nonetheless, the movie does have its moments. There's genuine tension when the Duc (Hillaire) tries to get Melanie (Collins) evicted from the casino, spoiling the heist. Instead, Melanie does some fast thinking and hangs in there. Then there's the very human last- minute-jitters that threaten to undo the elaborate scheme. But these moments of tension tend to remain isolated instead of tightening into a suspenseful whole, a failing perhaps of the screenplay.

I think there's a reason these heist films were popular during the law-and-order 1950's. The best ones-- The Asphalt Jungle (1950), The Killing (1956)— humanize crime in ways crime features to that point don't. Unlike most crime dramas of the period, ordinary people are seen as able to pool their talents into a cleverly profitable undertaking, at the same time, being daring enough to take big risks for big gains.

Such qualities mirror the kind of commercial initiative ordinarily lauded by popular culture. Of course, heists are also criminal enterprises, but except for the key factor of legality, they show off the combined skills of ordinary people acting in effective and sympathetic light. And just as importantly, as long as it's only a bank or racetrack or casino that gets victimized, well, they can likely afford it. Without that key consideration of who's harmed, the ending of this film would be more morally questionable than it is.

Anyhow, the movie's passable entertainment, and if it fails to scale the caper film heights, at least there are compensations.