Un trabajo en Italia

So who can NOT like The Italian Job? Well, I can't speak for those who are not Anglophiles, but I suspect everybody who has ever called themselves British will love it. Sure, it has holes the size of Matron's stockings in it's plot and there are any number of errors apparant in the script and screenplay (Well, we all know that Mini's don't have a rear differential) and the true fanatics (such as myself) are all too aware of the continuity on-screen (that was a heavily disguised Lancia Flaminia that went off the cliff- Well, did you really think it was a REAL Aston DB4? See "Hammer House" for where that turned up). I could go on, as I usually do, about inconsitencies and so forth, but, by God, I have seen the Italian Job in just about every format it was ever shown and I love it all the same. There are no slow parts, every bit is important to the plot, the soundtrack is legendary (only available now after many, many years on CD. Got it before it was on CD and cost a lot; typical!) and is so quotable ("You're only supposed to blow the bloody doors off!") as to haunt Michael Caine forever more. You'll love it, wherever you come from!

"The Italian Job" is a comedic heist film that is mostly renowned for the extended car chase getaway. In it, a thief recently released from prison (Michael Caine) organizes a scheme to steal a shipment of gold bars by creating a massive traffic jam and using a trio of Mini Coopers to escape with the loot.

The cast is pretty decent with the always dependable Caine perfectly cast as charismatic thief Charlie Croker, Noel Coward as the incarcerated backer of the titular job and Benny Hill in a small role as a computer expert obsessed with plump women. Besides that there's no-one worth remarking on and not much acting that isn't up to snuff.

The script is bold and inventive with much of the humour being understated and unpredictable. The heist itself is clever but the staging of the getaway is a real work of art. Again, there is an inventiveness that is quite refreshing. Nevertheless, I was starting to get a little tired of waiting for the heist to be set in motion. Finally, the ending caps the proceedings in memorable fashion.

The direction by Peter Collinson is solid and above average for an action-comedy. The music, handled by Quincy Jones, is memorable but also characteristic of the era, meaning that it is unlikely to appeal to all tastes.

If you're looking for a lighthearted crime caper this is just the ticket. I particularly recommend the film since it includes what is, in my opinion, the best car chase ever filmed.

Troy Kennedy Martin, its scriptwriter, has described the central significance of the mini cooper in Peter Collinson's cult heist movie. Perkily speeding through the streets of Turin, it represents the then New Britain: `laddish, self-confident and not taking itself too seriously'. The image of the weaving, dodging, red white and blue cars is the film's abiding one. Outside of their use in the prolonged escape scenes, and several splendid comic moments elsewhere, it remains entertaining, even if surprisingly slight.

Often seen as a quintessential sixties' movie, ‘The Italian Job' is more precisely a definition (or one definition) of Britishness as an optimistic nation at the height of a chic decade. In this atmosphere, pulling a job – or a bird – is practically a national duty. Robbery is considered by Croker and Bridger as a means to `help with the country's balance of payments'. The ultra-patriotic Mr Bridger (a splendidly aristocratic Noel Coward, his cell walls pasted with pictures of royalty) sees the job as much a matter of national pride, a means to demonstrate the efficiency of the British system of work, than a route to amass loot. Characteristically Bridger is more interested in studying balance of payment statistics than examining escape routes for his operatives who appropriately enough travel to their ‘work' on the Free Enterprise 1.

The reference to football is significant and parallels with the sport are deliberate. Most obviously, the robbery is planned for the time of an England-Italy match maximising confusion and even,(as Bridger suggests at one point), possible help from their compatriots. Croker's men at one point assume the identity of a van full of fans, while the impromptu beer celebration in the back of the coach, after ditching the minis, is the team's victory drink. It is clear that the Italians, whether the police or the Mafia, are as much their opponents as the national team playing in the stadium. Back in prison, upon news of the triumph by his ‘team', Bridger descends the stairs, like a penal Alf Ramsey, acknowledging the chants of ‘England!' by celebrating fans.

Caine's cockney player is very much the main character of the film (a role apparently – and amazingly – originally offered to Robert Redford). The actor, who had earlier played the soliliquising womaniser Alfie in the 1966 film of the same name, reprises some elements of that character's optimism and assumptiveness. In the present film he is less of cynical loner, studiously subservient to his criminal employer, though still on the look out for a good thing both professionally and sexually. Like his more famous compatriot, James Bond, he drives an Aston Martin although quickly reduced to a bicycle and then a mini. The Mafia's cliff-side warning dents some of his self assurance, presumably also shaken by the roughing up from Bridger's men (although interestingly the beating is never referred to again, and leaves no physical marks.) Away from his boss he remains very much his own man, although his loyalty is never in doubt: `From now on we work as a team. Which means you all listen to me.' Crocker is always in control, never sentimental, being content to pack his girlfriend off with the minimum of ceremony at the airport. Emotion will slowly filter through Caine's screen persona. His watching of Beckermann's footage early on, to explain the big idea, anticipates Jack Carter's less dispassionate viewing of celluloid in Hodges' gangster film two years later.

Before the long, final chase ensues, the gang's Aston and two Jags are ceremoniously wasted by the Mafia. While making a simple point about the threat and power of the Italian underworld, the removal of ‘competing' vehicles also reaffirms the status of the remaining minis. Ironically if the film has a weakness, it lies in the mini's prominence, which reduces tension during the last part of the film. The stunts remain eye-catching today (the notable roof top jump being filmed on the roof of the Fiat factory), but very often one is aware of watching a demonstration of the vehicle's versatility rather than any dramatic bid for freedom. In one scene filmed, later deleted from the release print, the minis and their Italian pursuers performed gracefully together on an ice rink choreographed to a waltz, slowing the action even further. That such a scene was considered, and filmed, gives an indication of how taken the makers had been with the car, and with the *means* rather than the *process* of urgent escape.

Another less satisfactory element of the plot is the disappearing Mafia. Initially presented as a formidable, organised force (as in their synchronised appearance on the hill side for instance), the Italian hoods are sidelined as events unfold, criminal impotents. Their absence from the finale seems odd. With or without the Cosa Nostra's malign shadow, the existing conclusion of the film has excited much comment. With its famous shot of the coach balanced out over the precipice, the gold sliding towards its back end, and Croker's closing `I've got a great idea..', it is a literal cliff hanger. The original script tailed off with the escape, and another twist in the tail was clearly needed. After some debate a studio executive added the existing close, which could easily have appeared lame, but in the event proves a satisfying conclusion. By leaving the coach – and the viewer – hanging, the film has it both ways: the crooks get away with it and yet they don't; a group of white British lads triumph in their cool minis, only to have their plans derailed by a careless black driver of their coach. If the film has been about the state of ‘Britishness' at the time then the uncertainty of its conclusion anticipates, perhaps, the doubts and strife of the ensuing decades.

It is unfortunate that the 2003 film was released with the same name as the 1969 film because it clouds the (unsophisticated) mind with subjective judgment. For everyone who compares the two films - stop! The original was filmed in a different time period and the viewer must make a conscious effort to put him/herself in that state of mind to understand it. The film is pure entertainment, and it accomplishes that with humor and some clever stunts. As viewers, we need to be objective and aware of the differences that have arisen on so many levels as the years have passed.

For those who complain that the premise of the heist is not realistic, it was never supposed to be. Consider that if it had been intended as a realistic portrayal, the crooks would have killed those in their way and taken the loot without concern for collateral damage. The existing plot kept the mood decidedly "all in good fun."

Michael Caine made as good a performance as ever in this film. It is fun for fans of him to see the many different roles he has undertaken in his prolific career.

At the behest of Mr Bridger, Charlie Croker puts together a crew to pull of a massive job. The job is to rob an armoured car on the streets of Turin and then get away clean. The plan involves explosives a traffic jam, a football match and a load of mini coopers.

I watched this recently on TV – it was shown the night before England played Argentina in World Cup 2002 (1-0, Argentina then dropped put in the first round!). The reason it was shown was simply that it's strength is that it's a good caper movie where the Brits go over there and put one over on the Italians! It may smack of zenophobia but that's what it is!

The criminals even go so far as to use Mini's for the job – in the most famous scene of the film, making them cool for decades! The reason it was shown before the game was just to feed on the fact that national pride was high. Even if you ignore the British element (the song `self preservation society' is now even a football anthem) then it's still quite fun to watch. The build up to the job is breezy and funny with good lines, while the job itself is fanciful but great fun.

The ending must be known to everyone – but it's still good no matter how many times you see it! The cast are all good – with a range of British TV faces in there bringing a distinct British comedy. Caine is great, as are Coward and Hill but the real stars are the Mini's and the daring comedic race across Turin.

Overall this is not a great film – but it is a classic caper movie. It's made even better by the fact that it makes you proud to be British in a weird way! Say it with me my friends – `hang on lads, I've got an idea……..'