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TO ATOMICFEZ: If you like this movie, try THE GOLDEN YEARS on which the newest version of GOING IN STYLE is based. IT`S A BLOODY RIOT
This is a 1960 British crime drama directed by Basil Dearden, based on the 1958 novel of the same name by John Boland.
Although the robbery plan seems quite interesting, the plot appears ill-contrived.
A small boy outside the bank is collecting car's plate numbers.
This is such a cheap trick that anybody could guess that this would solve the crime in the end.
The robbery members show little enthusiasm at first but Colonel Hyde reveals each person's misdemeanors.
I don't think that these ill-motivated men could accomplish such an extraordinary heist in the first place.
In any case, you would need a willing suspension of disbelief.
aqiva, this does have closed-captions/subtitles available if you enable it on your DVD player.
I have seen this video on VHS and on dvd. It has some real name stars from British films, most of them dead now. But in actuality all the "gentlemen" in the league are wonderful actors. The director, Basil Dearden, was a top notch director. This film could not be made with an American cast and be nearly as good.
Nifty, witty British heist movie from the early 60s. It starts a little slowly, but picks up when they begin planning, and the actual robbery is well-done. Part of Criterion's Eclipse series.
Smart little British caper where scoundrels with some military experience plan and execute a bank robbery, using their skills learned while in the service. Lots of famous British actors get to act with a combination of humor and suspense.
No closed-captions available. Typical for Criterion classic film releases... they take the cake for showing contempt for hearing impaired &/or older movie fans (as few of their releases have closed captions or sub-titles added).
Very good movie. Excellent script, well acted. In glorious black and white. A number of British actors at the height of their talents.
Totally delightful caper that makes one proud to be British (even if one isn’t). A roomful of British (& Irish) actors you’ve always wanted to see more of has a field day with a subtle tongue in cheek script by Brian Forbes (who also has a role on screen) including such dry wit as: “One gets into terrible habits at the YMCA.” and “It’s a long story and you’re going to bore people with it.” It’s all in wide-screen, black & white glory as only the Brits of 1960 could do and accompanied by a rousing Boy's Own score just as droll as the script. So focus your mind and think of Britain.
Each of the characters is fully realised and the desperation of their situations is indicative of the morés of the times as well as the economic trials of the period. One man is being extorted for being a homosexual (which was illegal at the time), another was running a black market trade in the army and is now operating a gambling syndicate, another is a ‘kept man’ by a rich wife who has affairs about which he can say nothing (divorces at the time being both difficult and seen as akin to an admittance of being a ‘bad person’), and another of them while head of a bomb-disposal squad was drunk at the time he gave an order which ultimately led to the death of four of his men. All of these men is looked at with shame and dismissal by Society, and their prospects of making good on any of those points against them are unlikely at best. They are, essentially, losers before they even begin the next race, should they even have the spirit to attempt it.
All of the details of the plot, as well as the carrying out of the action is sufficient to maintain our fascination, yet not so much that one cannot either keep track of it or make it seem to be something placed there merely for the sake of it. It is all quite believable and realistic, as well as being interesting and enjoyable. Who doesn’t have some sort of “could get away with…” ponderings at some point, even if it is simply to think about it? The opportunity to vicariously live this out through a film’s characters is easy to locate, as there are any number of titles which permit it.
If you’ve not seen this, you ought to, as it’s another example of how to make a damned good story as a damned good film. Too few of these ‘low-budget’ UK productions are widely known, and this one very much deserves some wider exposure.