La gang dei diamanti

This movie is so limp.

The heists are dull. The female cameos are insipid.

The acting is TV level. And the soundtrack belongs in an elevator.

Watching George Hamilton IV gabbing with lisping (or drunk) Joseph Cotton isn't remotely interesting. Cotton's makeup is so ghastly he looks like a marrionette.

Some of the locations are OK, but whoever director Don Taylor had behind the lens didn't take proper advantage, most of the time.

There's no way this movie would ever have seen the light of day after initial release if not for TCM.

I basically watched this to see delightful Eva Gabor and gorgeous Carroll Baker. That was fun but they are only onscreen a few minutes. What we are left with is nearly two hours of THE TAN (with clumpy mascara, no less). I cannot think of one film George Hamilton was good in. I always thought of him as a greazier, poor man's Warren Beatty. I'm sure every A list actor passed on this boring script, so they made it with Hamilton.

I love 1960s movies and I can usually find something to enjoy about them. Not this one. It doesn't even have a single camp moment.

This mildly entertaining German-American production has a Yankee take on the European tradition of suave jewel thieves. Perhaps influenced by the popular Italian comic books, star George Hamilton looks like Diabolik at times (though this movie was released before the film Danger: Diabolik).

Amusing cameos and supporting parts by many familiar faces and ably directed by veteran director/actor Don Taylor. Lots of nice Bavarian locations. Wolfgang Preiss, who played super-criminal Dr. Mabuse in a series of films, represents the law here. Even with some Morricone-ish music, one wishes it was more representative of the wild 60s Euro costumed criminal films like Danger: Diabolik, Kriminal and Mister X. The scene where Hamilton works on a trapeze in his mansion may have inspired the similar Lara Croft bit.

Typically glossy and bland 1960s international caper which, though harmless enough while it’s on, emerges an unnecessarily long haul because the running-time is padded with scenes in which the likes of Zsa Gabor, Carroll Baker and Lilli Palmer appear as themselves(!), purporting to be famous victims of the titular cat-burglar! The lead is played by a properly dashing George Hamilton; his mentor – the “Ace Of Diamonds” – is a suave Joseph Cotten; on their trail is insurance investigator Wolfgang Preiss – while Maurice Evans and Marie Laforet first prove rivals, then associates, in their schemes (Cotten having been involved, both romantically and ‘professionally’, with the girl’s deceased mother). Though wholly unsurprising (with the various robberies mildly generating the expected suspense), actor-turned-director Taylor’s treatment at least maintains an agreeably light touch throughout – the denouement, then, provides a clever ruse by which our roguish heroes can still go free in the end.

One great line in the film. After Gabor's jewels were stolen the second time the Press showed up at the scene of the crime to interview her. One Reporter asked if she had seen the Cat Burglar. She said: "No, but that he must have seen me". Feigning surprise after looking her body up & down he said: "Why would the burglar have left?". Gabor retorted: "There isn't a straight man left in America"! They all laughed and left. Now given that this film was released in 1967 the expression 'straight' seems ahead of it's time and yet there seems no doubt as to what was implied. Was this some in-joke as surely Gabor had done much 'research' in her personal life. I'm sure the audience laughed with the Reporters yet only a few would have known what the joke really was.