Bunch of incompetent crooks kidnap an impoverished Mafia boss who pays his ransom by setting up a major heist. By a stroke of casting alchemy this brings together Cesare (Vittorio De Sica), the epitome of old world Italian charm, knock-out gangster’s moll and scene-stealer-in-chief Juliana (Raquel Welch) replete with scanty knock-out outfits, and criminal mastermind Professor Samuels (Edward G. Robinson). In order to acquire the funds necessary to steal $5 million of platinum ingots from a train – that plan involving a tank and an WW2 bomber – the crew, initially headed by American Harry (Robert Wagner), need to carry out smaller jobs.
Problem is, none of them are any good, not even Cesare, who has lost his flair and botches an attempt to rob an old flame of her jewels. This is a twist on Topkapi (1964) which employed effective amateurs. This bunch can’t even carry out a simple theft from a restaurant. The heist itself is pretty spectacular and innovative. And the movie is quirky, with a darker edge. While there are few belly laughs, the light tone is enough to carry the gentle humor, mostly inspired by the misplaced team, amateurs for various reasons, not necessarily outright lawbreaking, on the run. These include London Cockney mechanic Davey (Davy Kaye), chef Antonio (Francesco Mule) distracted by hunger at every turn, cowardly violinist Benny (Godfrey Cambridge) and Joe (Mickey Knox) with a helluva brood to feed.
The story does a good bit of meandering, as does the camera, much of its focus on the voluptuous charms of Juliana, but the hurt pride of Cesare and the grandiose machinations of the professor keep it on course. The Italian settings, incorporating grand villas and ruins, do no harm either. The heist is terrific and there is a final twist you may or may not see coming. The interplay of characters works best when it involves Juliana, who attempts to twist Cesare around her little finger, that tactic mutual it has to be said, and who keeps the professor on his toes by dancing with him in a disco, and it soon becomes apparent that she has the upper hand over lover-boy Harry.
You could be forgiven for thinking the title refers to Raquel Welch – a cinematic infant at this stage with only One Million Years B.C (1966) in her portfolio – especially when her cleavage and looks receive such prominence, but the caper is classy and different. As well as being obvious she is both sinuous and seductive and clearly has a mind of her own, possibly the most criminally intent of the entire outfit, with weapons the others lack. By this point, she had invented the pop-out bikini, pictures of which had flooded Europe, making her the pin-up par excellence, but those who came to simply gawp quickly realized there was talent behind the body. Although of course there would be those who didn’t care.
De Sica constantly plays around with the idea of being a defunct godfather and Robinson is the antithesis of the gangster roles on which his fame relied. Robert Wagner is less effective, miscast and out of place in such august acting company and losing out to Welch in every scene.
This was a considerable change of pace for British director Ken Annakin after Those Magnificent Men in Their Flying Machines (1965) and Battle of the Bulge (1965) and he brings to this the comedy of the former coupled with the narrative complications of the latter, wrapping everything up in an easy inviting style that makes the most of his stars and the locations. Screenwriter Sy Salkowitz was a television veteran (Perry Mason, The Untouchables et al) , this marking his first venture into the big screen.
Not in the Topkapi class – very little is – but a pleasant diversion nonetheless and for avid Raquel Welch fans, setting aside her outfits, a chance to see her develop more of a screen persona than was permitted in her debut One Million Years B.C.