I should start right out, here, by clarifying that this review is for the original version of The Italian Job, from 1969, not the remake from 2003, with which many readers may be more familiar. This version, with its distinctive British flavor, was the creative work of director Peter Collinson.

Historical Background: Peter Collinson did not have an easy go of it in life. Born in 1936, he was left at an orphanage when he was just five-and-a-half by an actress mother and a musician father who were just not very interested in raising him. Various celebrities took turns acting as "governor" of the orphanage and it was thusly that a very young Peter met Noel Coward. Coward noticed a little boy weeping in the corner, one day, because his father had promised to come for a visit but had not shown up. That was Peter, of course, and Coward later wrote in his memoirs that he had never seen anyone more broken-hearted. Noel asked Peter if he could be his godfather.

When Collinson grew up, he gained experience onstage and in television commercials before turning to directing. His first efforts, The Penthouse (1967) and Up the Junction (1968), were stylish and original, if a bit pretentious. Off those efforts, Collinson was approached by producer Michael Deeley to direct, first, The Long Day's Dying (1968), which, though intended as something of a warm-up, won the San Sebastian Film Festival. Collinson and Deeley then teamed up again for the more substantial The Italian Job (1969). Collinson cast his godfather, Noel Coward, in the film as Mr. Bridger. It would be Coward's last role. Collinson died in 1980, never having really fully developed a personal style as a filmmaker, contenting himself with mainly shallow, though sometimes stylish, action films. According to his widow, Collinson was a risk-taker who liked to live life on the edge. He remained sensitive to his origin as a poor orphan and was exceedingly proud of having succeeded well enough in life to purchase himself a milk-white Rolls Royce.

When the Italian Job was remade in 2003, Paramount somewhat creatively released a new version of the 1969 original on DVD on the same day they released the remake. It was a clever marketing ploy, enticing a lot of folks into the routine of a head-to-head comparison.

The Story: While speeding along mountain highways in northern Italy, Roger Beckerman (Rossano Brazzi) dies in a car crash at the end of a tunnel, but it's no accident. He's been done in by the Italian mafia, headed by Altabani (Raf Vallone), and the remnants of Beckerman's car are unceremoniously dumped into a deep Alpine ravine. Meanwhile, in England, Charlie Croker (Michael Caine) is just completing a stint in the penitentiary. As he prepares to leave, he pays his respects to mod boss Mr.Bridger (Noel Coward), who pretty much runs the penitentiary as well. Croker already has his next job lined up on the outside, and it's an Italian one. He's picked up outside the gate by girlfriend Lorna (Margaret Blye). She's arranged a coming out party for Charlie with a slew of lovely hookers all lined up for Charlie's entertainment.

Charlie pays a visit to the home of Beckerman, the man who's got a job waiting for him, only to learn from his widow about his death. Charlie takes time to "comfort" her as only Charlie knows how. Beckerman, having anticipated his death, has left Charlie a film recording the details of the heist plan and urging Charlie to complete the job. Charlie is intrigued by the plan but realizes that it's a big job for which he'll need big resources. Charlie breaks back into prison ending up in Mr. Bridger's bathroom stall. Bridger arranges through his chief henchman, 'Camp' Freddie (Tony Beckley), to have Croker worked over for his insolence, but is nevertheless intrigued by Croker's idea. Despite being a gangster, Bridger is highly patriotic, like every good Brit, even to the point of having his cell plastered with posters of the royal family. Since Croker's plan calls for robbing $4 million in gold bullion from the Fiat company in Turin, Mr. Bridger reasons that making it work is a matter of British pride and a patriotic duty to help improve the balance of payments. You catch the drift.

The next segment of the film concerns the detailed planning for the job, following the somewhat formulaic principles for all heist films. Croker assembles his team and declares, "From now on we work as a team. Which means you all listen to me." The various rehearsals are so fraught with difficulties that viewers begin to wonder how such a group of screw-ups can hope to pull off a major caper. One famous line from this comedy of errors has been quoted ever since the film's original release: "You're only supposed to blow the bloody doors off!" Professor Peach (Benny Hill), an oddball with a taste for obese women, is recruited for his computer skills. His job will be to muck up the traffic control network in Turin to trigger the world's biggest traffic jam. Then, with the gold-carrying convoy ensnared in traffic, they'll snatch the loot and make their escape through the only remaining exit route.

There's one catch – the Italian mafia. They've got patriotic pride, too, and they're not about to let a bunch of stiff-lipped British hoods march into Italy and upstage their own illegal activities. There's a big soccer game between England and Italy scheduled in Turin for the same day as the heist, so national pride is at stake all around. When Altabani gets wind that the British mob is up to something in his territory, he arranges a welcoming party in which Croker's Bond-like Aston Martin and a pair of Jags get unceremoniously trashed by a backhoe and a tumble down another Alpine cliff. In a comedown, poor Croker is reduced to riding a bicycle into Turin.

Nevertheless, the heist is activated and culminates in one of the most spectacular car chases you'll ever see. It's played more as a spoof than for realism, so you'll need to suspend disbelief a bit, but the net result is some high-speed action together with some laughs. I won't describe the chase except to say that it features a trio of Minis traveling just about everywhere that cars are not supposed to go. The ending is a matter of exquisite suspense.

Themes: There's a little bit of cute political undercurrent behind this film, though one doesn't really need to pay attention to it to enjoy the film. In 1969, Britain was teetering between a primary commitment to the Common Market and maintaining an insular island existence. Nationalist pride was running high among Brits and the idea of a bunch of working class British thugs ripping off one of the continental countries, using good old British ingenuity, was something that every British citizen could relish. The film has a distinctly British feel to it and will be enjoyed most especially by English patriots and Anglophiles. This film enjoys waving the Union Jack. Other viewers will still enjoy the wit and British sense of humor, but won't find their chests puffing up quite so much with lusty patriotic zeal. There's a celebratory scene in the penitentiary that is especially charming. Mr. Bridger, waving his arms in triumph, descends a wrought iron staircase to penal chants of "England!"

Production Values: The first version of the script that would ultimately evolve into the current picture was written for the BBC by the brother of screenwriter Troy Kennedy Martin. The BBC couldn't afford to film it, so Troy Martin purchased the rights from his brother and changed the setting to Italy to give the story a trans-European feel. Martin then gained the backing of producer Michael Deeley and together they settled on Peter Collinson as director. Collinson was relatively untested, especially for such a big film, but the gamble paid off.

Heist films tend to be formulaic, but this film is really more of a spoof on the genre than the genuine article. It's colorful and witty and exciting, but never takes itself very seriously. Those who like their adventure films straight-up may find this one a bit too cutesy and unrealistic. When the Mini Coopers roll through the piazzas and arcades, down staircases, up on roofs, and through a drainage pipe, it's hard to take it all too seriously. You'll get the feeling that the movie crew is more interested in showing off the stunt capacity of their little vehicles than getting on with the story. If you like, however, you can just enjoy the charming anarchy for its sheer entertainment value. The tactic of setting up the heist particulars through a dead man's videotaped message is pretty clever. The weakest aspect of the script is that some of the subplots get left hanging, especially the opposition by the formidable Italian mafia.

The cinematography is mostly pretty good and the DVD transfer is magnificent. The colors (or should I say colours) are strong and the focus and contrast crisp. The stunts during the car chase are mostly well filmed. The soundtrack by Quincy Jones is quite distinctive, featuring especially the catchy song "Self Preservation Society," which captures both the British frame of mind of the time and the late sixties era.

Michael Caine knows how to do the gangster bit (e.g., Get Carter) and he knows how to do the womanizer thing (e.g., Alfie), and here he gets to put the two together. He's worth checking out as well in such films as Zulu (1964) and The Ipcress File (1965). Caine's cheeky charm is the films highlight, along with the automotive stunts.

Noel Coward gives a fine performance as the crusty old mob leader who wraps himself up in the tri-colored flag of his nation. Coward's Mr. Bridger commands the respect of his fellow inmates and the prison guards as well. You'll also enjoy a reasonably subdued performance by Benny Hill, as Professor Peach. No one does charming perversions any better than Hill.

Bottom-Line: Paramount went all out for this film, considering its age. They gave it an audio commentary, featuring producer Michael Deeley and Matthew Field, author of "The Making of 'The Italian Job.'" It's not an especially good commentary, but that's compensated for by a splendid documentary, in three segments. You can watch them individually or all together. Beyond those two goodies, there're two theatrical trailers and a deleted scene.

This film's appeal probably has some demographic correlates. I suspect it's going to appeal generally more to an action-oriented male audience, especially because there's hardly any female presence in the film and what is there is mainly sexist. Margaret Blye is the only featured actress, as Lorna, and her main job is to titillate Croker by lining up a half-dozen "birds" for his delight. British citizens will inevitably treasure this film more than will other nationalities, though I found plenty of enjoyment in it. The British Film Institute ranks this film as the 36th best British film of all-time. This original version will appeal to the national spirit of Brits as well as to anyone who enjoys a good heist film with a bit of a comedic glaze to it.

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children Age 13 and Older