Ladrões de Casacos

Charming comedy about a bored group who board with Dame Bea (Athene Seyler) in an apartment. She supports many charities but has now run out of money. Through a series of events, they hit upon the idea of stealing fur coats and selling them to a fence so that she can continue to support her charities. The others are all bored so they go along ...since it's for charity. Implausible plot makes little difference as this disparate group of oddballs start their series of robberies. Subplot has Dame Bea's maid (Billie Whitelaw) who has a prison record, falling for a cop (Jack Hedley).

The robberies are masterminded by the Major (Terry-Thomas) who calls on his military experience to plan the robberies, including all manner of disguises. Because they have no police records, they rob shops and gambling joints right under the cops' noses.

The cast is uniformly excellent is this bit of craziness. Terry-Thomas and Athene Seyler turn in star performances, matched by Hattie Jacques as Nan and Elspeth Duxbury as the hapless Pinkie--their cohorts. Others in the cast include Raymond Huntley as the inspector, Irene Handl as Spolinski, Penny Morrell as Gertrude, Sydney Tafler and Joan Heal as the neighbors, and May Hallatt as the old lady. Kenneth Williams also shows up as the fence.

The ending is priceless.

Very odd film. The sort of film that only the British could make.

Terry-Thomas is cast out of his usual flash, boisterous role as the rather timid Major Rayne, down on his luck and living in a boarding house with the weirdest collection of women you're ever likely to see, including a very young Billie Whitelaw and a masterful Hattie Jacques.

By pure mischance, they embark on a campaign of fur robbery in order to support their landlady's charitable work. The film is a wonderful caricature of the down-at-heel gentry in Britain at that time, includes some very endearing characters and is genuinely funny in its naive fashion.

Recommended to any fan of the wonderful Terry-Thomas and British comedies of this era.

The last time I saw this film was about 40 years ago when I was a kid. My sister and I would watch movies on Channels 9 and 11 in NYC and we saw Make Mine Mink about 3 times, I figure. Since then, I have unsuccessfully sought it in movie stores, like a man wistfully returning to the haunts he frequented with his first love, hoping against all odds to catch another glimpse of her. Part of my curiosity is determining whether I would think it as funny today, and my sister wonders the same thing. Terry Thomas was an absolute favorite of mine back then, too, and I haven't seen anything of him on TV for a long time. So what's this got to do with the movie itself? Well, it's just that kind of film. There's such a combination of comedy, sweetness, surprise, and intelligence in it that it sticks with you for a long time. The combination of the odd British major living in a rooming house with an extraordinary collection of women, the craziness of their plans and the situations they get themselves into, and the smart understating of the comedy that was such a British specialty before they became so self-conscious about that particular gift, make it a rarity in more ways than one.

A warm view of the criminal temptation as seen through the eyes of the comic displaced. Fine team performances, particularly from the female cast members, topped off by a Terry-Thomas character out of his own flawed top-drawer. A real treat for those who like their view of the British as slightly off-centre, warm and hypocritical...which is not a bad summary of the national character. Kenneth Williams in an early appearance shines as a character that he never really succeeded in developing for the screen but which points to a keen comic enjoying himself in very good company. Billie Whitelaw playing against type is also a revelation in a role that hints strongly at the type of role that she made her own in films later in the decade

I liked this. I suggest you reserve it for a time when you want something that isn't much work in viewing (which means that 1960 is about the latest you can consider).

The structure is a familiar one: we watch a bunch of actors portraying unlikely characters who themselves play unlikely characters precisely as far away. The joke of course is in the overlap, and the competence of the first contrasted with the incompetence of the second. Its all about coats and appropriation.

There's an interesting performer here, one I haven't seen before. She plays a painfully reserved spinster who's occupation is mending broken china. Her character, Pinkie, is immensely inept and most of the polished humor (this was a successful stage play) is hers. We are introduced to her when the silly major breaks in on her bath because she has extended into his time.

This is moments after having the first long segment of the movie linger on the sexy, pretty maid. And we see a naked skinny old maid in the bath. The major is retired from his duty as commander of "portable baths."

That's the attention to detail you'll find in how this humor is constructed.

Anyway, Pinkie (with the wonderful name of Elspeth Duxbury) only lived a few years after this. Too bad.

Ted's Evaluation -- 3 of 3: Worth watching.