The Italian Job – 1969 | 99 mins | Comedy | Colour

Plot Synopsis

Cult favourite best remembered for its unexpected ending and a robbery sequence featuring three Mini Coopers. Michael Caine is Charlie Croker, a small-time crook recently released from prison who sees his chance to make the big time by hijacking a bullion shipment in Turin. He inherits the plan for the robbery from his old boss who died in the Italian Alps at the hands of the Mafia while attempting it. Caine is sponsored by English gentleman Mr Bridger (Noel Coward), a high-class criminal who lives the high life in a London prison. As protagonists, Caine and Coward couldn’t be more different, but between them they encompass the spectrum of all that is essentially English. Coward, who waves his hand like royalty, is accompanied throughout the film by a number of pro-British anthems (Rule Britannia, God Save the Queen, The British Grenadiers) that eventually culminate in a football chant from his fellow inmates; Caine is a Jack-the-lad who hasn’t lost touch with people on the street.

The picture’s tongue-in-cheek patriotism (ostensibly the `real’ motive behind the robbery) paints a world where there is co-operation between the classes, between criminals and the law, between the common labourer and the educated professional, all united as a matter of national pride. The film’s images of British criminals abroad – invading foreign turf, so to speak – is well complemented by location shooting in Italy, particularly the crowded Turin streets and the majestic alpine roads. The films highlight is of course the robbery itself, aided by the Professor (Benny Hill) who has disabled the Turin traffic control system. The three patriotically-coloured Mini Copper S’s (which always drive in order of red, white, and blue) weave through plazas, over rooftops, across weirs and through sewers in order to make their getaway. The Mini’s are then picked up by a coach in the Alp’s and it seems the ‘job’ was successful… or was it?

The original ending, as written, tied up loose ends with Caine’s girlfriend and the Mafia (who simply drop out of the story in the final cut), but the substitute ending is more in keeping with the film’s cavalier attitude. The film has humour, action, but surprisingly little suspense. Caine, who was enthusiastic about this project, is curiously flat and mannered – it’s almost as if a Michael Caine impersonator dubbed his voice. Peter Collinson, who seems to enjoy filming cars rolling down cliffs, directed from an original screenplay by Troy Kennedy Martin. Quincy Jones supplied the music.

Review© Shane Burridge.