Once a Thief

Around this time French film star Alain Delon was trying to broaden his appeal internationally by doing some American films. He did a whole lot better with this than with Texas Across The River.

Delon is a former crook trying to go straight as he has a wife Ann-Margret and a small daughter. Not easy because a San Francisco detective Van Heflin is looking to put him away any way he can. This was before the Miranda decision and Heflin is ruthless in what he tries to do.

Delon might be able to resist Heflin, but when his older brother Jack Palance calls it becomes too much. Palance is a big time operator and planner and has a big score lined up. He also has part of a crew as well, the none too bright Tony Musante and the psychotic John Davis Chandler.

There is such an air of tragedy around Delon that I've seen in very few other films. No matter what he does he has a destiny he can't escape.

Ann-Margret sheds her sex kitten image and turns in a great performance as a wife and mother fighting for her man and marriage against the fates. Too bad the public didn't want to see her in serious stuff like Once A Thief.

This one's a keeper and a sleeper. It should be watched and become better known.

I suppose I like the cast better than the film, itself. Heflin, Palance, Ann-Margret, Chandler, and Delon are all watchable.

This may very well be Chandler's finest performance (and he was always good at playing bad guys).

The story is one we've all seen before, many times, yet the cast makes it worth watching. Ann-Margret might not have been as good as she could have been, but she's not really that bad.

Even the scenes involving the little girl work well, and the chemistry between she and Delon is exceptional.

The surprise ending is tense and exciting. Too bad there's no DVD of this film. I'd buy it.

Johnboy

In San Francisco, two men kill a Chinese woman after robbing her store. One of the thieves has the same characteristics of the Italian immigrant Eddie Pedak (Alain Delon) and he becomes the prime suspect of Inspector Mike Vido (Van Heflin). Eddie is an ex-thief that was found not guilty for shooting Vito in a bank heist, but the inspector blames him. Presently Eddie is married with a child with Kristine Pedak (Ann- Margret), works as a truck driver and has put a down payment on a fishing vessel with his savings. Out of the blue, Eddie's brother and gangster Walter Pedak (Jack Palance) and his henchmen Arthur Sargatanas (Davis Chandler) and Cleveland 'Cleve' Shoenstein (Tony Musante) visit Eddie to invite him to participate in a one-million dollar heist. Eddie loses his job and his personal life is deeply affected by Vito since he can not find another job. He decides to meet his brother and accepts to participate in the hold up. Meanwhile Vito discovers that Eddie was actually framed in the Chinese murder. He visits Eddie to disclose his findings to him but Eddie has already participated in the plan. What will happen to him?

"Once a Thief" is an engaging film with a non-original story and unfair conclusion. The direction and performances are top-notch but the situations are inspired in many film-noirs. The deceptive hopeless conclusion will certainly disappoint many viewers. My vote is seven.

Title (Brazil): "A Marca de um Erro" ("The Mark of a Mistake")

The beginning of this picture, from the jazzy opening credits and into the next reel or so, is rather engaging. At its best, it is stylish in that French New Wave Meets American Beatnik kind of way, frequent in popular culture of the time. The dialogue is peppered with hepcat slang and frank references to narcotics

and so-called "deviant" sexuality. This is daring stuff for a 1965 release from MGM. Beautiful widescreen black-and-white photography from Robert Burks,

who had by then done several Hitchcock films. The steady hand of director

Ralph Nelson keeps the picture moving, often punctuated by moments of

unexpected brutality. PC this is not! The story itself is popcorn stuff, perhaps best not explored too deeply, but a great cast helps to enliven the material. By

today's standards, the character played by Ann-Margret would never be

depicted in such a fashion as seen here. (At one point, she apologizes after

being slapped around.) But hey, she's under the seductive spell of Alain Delon, a Frenchman playing an Italian. No, it's not "The Asphalt Jungle". Neither is it a total waste of time, as it's often described as being. It's a good example of a mid- '60s studio potboiler, capably and professionally (and sometimes artfully)

handled by all parties concerned. If your bag lies elsewhere, go on and fetch it, then. I'm rewinding the tape so I'll be ready to watch "Once a Thief" again soon.

The plot is threadbare, the principals don't really look the part, the pace is much too slow, but this film still has some points of interest.

First, the location work. Plenty of San Francisco footage, though much of it at night (this is film noir, after all). The city looks different now, but many of the setups are in areas that haven't changed too much.

Then there's Anne-Margret, still in her sex-kitten stage but trying hard to break out of it. She's really not up to the mommy part, though she gives it a good try. Her character is about the only sympathetic one in the film, save . . .

Van Heflin's. I've always liked him. He's pretty good as the cop who hounds Delon, though he won't pass for Italian any day of the week, or will Delon, for that matter. It's interesting to contrast this detective with Steve McQueen's Frank Bullit or Clint Eastwood's Harry Callahan. They're all SFPD and only a few years separate their stories, but Heflin's Mike Vido is from another world. Wait until you see who he lives with.

And then there's John David Chandler's homicidal homosexual-child molester, a really nasty characterization you won't encounter today and not often then. Oh yes, he's also a sadist.

Finally, there's Jack Palance's equal opportunity crew: two Italians (though I think their surname is Croatian), a Jew, a Greek, and a Chinese undertaker. Somehow they pull off the heist, though just barely.

Recommended if you enjoy hard-core noir, Anne-Margret, or Heflin, otherwise steer clear.