ChanBot i must have seen a different film!!

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Dana An old-fashioned movie made with new-fashioned finesse.

Boba_Fett1138 Lets face it. The 'film-noir' period was already over its peak and as good as death already in 1965, when this movie was released. This movie is a late attempt to revive the film-noir genre, with some big names involved. They partly succeeded. The movie works quite well as a crime/thriller movie but it lacks the certain style, characters and subtle style of film-making to consider this movie a good attempt at the film-noir genre.All of the classic ingredients are present here but everything doesn't always connect very well. Some of the story lines are underdeveloped and it often leaves more questions than answers. I still don't fully understand what the point was of the robbery/killing in the beginning of the movie. Some of the events in the movie feel silly but it luckily doesn't make the movie any less pleasant to watch. So even though everything in the movie is far from flawless it still is a good enough crime/thriller to watch.The main plot line isn't anything too terribly exciting but it's told in a good way. Director Ralph Nelson brought the standard and thin story well to the screen and even manages to make the movie look exciting, thrilling and surprising.The musical score by Lalo Schifrin is quite odd but its suits the movie very well and therefor I liked it.The characters and cast are good and interesting. OK so Alain Delon might not be the best leading man but the supporting cast certainly compensates for this. Ann-Margret shows she is a great actress although she mainly only does some screaming and crying in this movie. It gets a bit too much after a while. Van Heflin and Jack Palance were also great and John Davis Chandler beautifully plays a ruthless villainous looking villain. He absolutely stole the show in most of the sequences he was present in.A good enough crime/thriller that deserves to be seen.7/10http://bobafett1138.blogspot.com/

azignon I am living in France now and have seen repeats of this film on TV. Alain Delon and Van Heflin keep getting better and better each time I see the film. Ann Margaret is soooooo bad and gets worse and worse. The little girl is obnoxious. It is all predictable but Delon and Heflin make it worthwhile. I wish I had seen the film in the sixties. It would have been interesting comparing my reactions to the film in different time periods.

gvb0907 The plot is threadbare, the principals don't really look the part, the pace is much too slow, but this film still has some points of interest.First, the location work. Plenty of San Francisco footage, though much of it at night (this is film noir, after all). The city looks different now, but many of the setups are in areas that haven't changed too much.Then there's Anne-Margret, still in her sex-kitten stage but trying hard to break out of it. She's really not up to the mommy part, though she gives it a good try. Her character is about the only sympathetic one in the film, save . . .Van Heflin's. I've always liked him. He's pretty good as the cop who hounds Delon, though he won't pass for Italian any day of the week, or will Delon, for that matter. It's interesting to contrast this detective with Steve McQueen's Frank Bullit or Clint Eastwood's Harry Callahan. They're all SFPD and only a few years separate their stories, but Heflin's Mike Vido is from another world. Wait until you see who he lives with.And then there's John David Chandler's homicidal homosexual-child molester, a really nasty characterization you won't encounter today and not often then. Oh yes, he's also a sadist.Finally, there's Jack Palance's equal opportunity crew: two Italians (though I think their surname is Croatian), a Jew, a Greek, and a Chinese undertaker. Somehow they pull off the heist, though just barely.Recommended if you enjoy hard-core noir, Anne-Margret, or Heflin, otherwise steer clear.

Jonathan Doron Swift opening sequence has nothing to do with the pace of the movie, and that's a shame. The movie is way too slow, not very original (ex-con drawn to one last crime, police detective off the case-still determined to get his guy; I for one, do not believe Jack Palance and Alain Delon are Italian brothers, does anyone?), some tolerable '60s cuts and point-of-views, but if you get to the heist you are rewarded -not by the crime itself, but the outcome. The finale is well put together. Alain does have better ones, preferable in French.